In the small world of Christian Music, 1998 was a year that didn't see much in the way of exciting new bands or trends (except for the seemingly endless ska fixation that is already growing tired of repeating itself). Perhaps this explains why a formerly unknown band from New York City could explode on the scene, and within a short amount of time walk away with the coveted Dove Award for Rock Album of the Year. Burlap to Cashmere was that band, and their esteemed album is Anybody Out There?. Of course, many curbside critics questioned the Dove Award win, because Burlap to Cashmere isn't exactly a straight-forward rock band even by their own admission (nor are they entirely comfortable with the "Christian" tag). Yet, the award verifies, if nothing else, that a little creativity, relevant spiritual messages, honest songwriting, and passionate playing can go a long, long way. (Even if it seemed to some like the time Jethro Tull won the best Heavy Metal album Grammy award.) Rock Album of the Year may be a questionable category for this folky, world music band to win, but their recognition is well earned and their jaw-dropping live sets more than prove it.
A recent article in a respected Boston newspaper dismissed Burlap to Cashmere as a mere retro coffee house kind of band that has been curiously embraced by the Christian community. Although they do have both a folky vibe and content particularly appealing to Christians at their core, this description fails to acknowledge the wonderfully diverse world music influences that define their signature sound. Imagine a more accessible Gypsy Kings, and you are getting close. Or better, daydream about what Cat Stevens and Harry Chapin, with their substantial songwriting structures and performing skills, might sound like if they had become infatuated with their Mediterranean vacation. The outgrowth of such a flighty fantasy is the Burlap to Cashmere reality: solid, memorable verses augmented by flashy flamenco and saucy Greek guitar licks driven along by a busload of percussions over a sturdy layer of keyboards. Earnest, enthusiastic, and elegant all in one fell swoop, it's no wonder Burlap to Cashmere drive audiences everywhere to their feet.
The band played for a little more than a hour, but what an hour. They opened their set with "Anybody Out There?," the hit song from the album of the same name, and followed it with the album closer, "Mansions." The first begs the question whether or not anyone takes Christ's sacrifice seriously any more. The second looks forward warmly to our heavenly home. An encouraging mood was established, and the audience was hooked.
The rest of the set covered most of the highlights from their album and live EP, including show stopping versions of "Chop Chop," "Skin is Burning," "Scenes" and "Basic Instructions," which always provides renowned percussionist Scott Barksdale an opportunity to bust loose with electrifying results. Other highlights included "Young Son," otherwise known as the song about becoming the President of the United States, and "Black Stain," which is a song lead-singer Steven Delopoulos wrote some time ago that didn't make it on to the albums. A rousing sing-a-long version of "Digee Dime" ended the set leaving the audience with great anticipation for the encore.
Delopoulos returned to play the melancholy "Eileen's Song" solo, which had less energy than the full band version from the live EP. Another new song, "Dialing God," in an elongated jam form followed, featuring an inspired guitar solo by virtuoso John Philippidis. Sans shirt and pulling out notes from his guitar with gutsy style, Philippidis was like a younger, sweatier vision of Santana.
Aside from the slightly disappointing version of the otherwise stirring "Eileen's Song," the evening's only downside was the short show length. The audience would have been more satisfied if the band had played the remaining songs from their album, particularly "Divorce" and "Good Man," (which my wife calls the song they would most likely play if appearing on the Tonight Show with Leno). Regardless, Burlap to Cashmere proved once again that they are a band not to be missed in a live setting.
Regrettably, not everyone has caught on to how exciting this band is in concert. Many of the youth groups that came for the evening, left just before the headliners took the stage. Their loss. Those that stayed were treated to an exceptional show, and far and away the highlight of the evening.
Here are a few words about the three opening bands in reverse order. I'm not a fan of either ska or ska-core music, yet it is hard not to enjoy Five Irony Frenzy's peppy blend of punk and ska. The teenagers in the crowd seem to like their upbeat show an awful lot, and the band's goofy, playful antics help create widespread enthusiasm for their set. As a youth I can remember thinking that my parent's music all sounded the same. I'm now getting old enough to think the same of some of today's more youthfully-oriented music. I enjoyed moments of Five Iron Frenzy's set, but it was not engaging enough to keep my mind from wandering.
Switchfoot are an up-and-coming San Diego band that wunderkind Charlie Peacock has been producing. Their literate and crafty modern rock is generously accessible and enjoyable, but not quite ready for prime-time. Their set was exciting and memorable enough to generate interest in the band, but not enough to send me off to snap up one of their two CDs. In short, a pleasant surprise with future promise.
The first opening band, Smiley Kids from Colorado, are a straight-forward Nineties punk band in the vein of Green Day, but with none of the charm. Frankly, my chums and I were not only bored by them, we were annoyed. Chock this one up to age if you like.
Burlap to Cashmere set list:
