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Inside Hardrock Haven:
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H R H - C O N C E R T - R E V I E W S
Venice
Venice has been recording since 1990, when they released their upbeat and impressive self titled debut on Atlantic’s Modern Records. Filled with tremendous melodies and pitch perfect harmonies reminiscent of the Eagles and Crosby, Stills & Nash, Venice appeared to be the next big thing. Unfortunately, the music industry failed to spread the good word limiting their significant success to Southern California and of all other places, Holland. This tremendous concert experience only adds to the uncertain mystery as to why Venice is one of the best bands that the general public is not listening to. The Galaxy is not a new venue for this reviewer. However, what was surprising was how packed the parking lot was despite arriving 30 minutes prior to the opening act. This was only compounded by the fact that the venue was already crammed with anticipating fans ready for an acoustic night with band from Venice, Calif. Normally, there is a large semi circle right in front of the stage surrounded by layers of seated booths for those wanting to include their musical evening with a dinner. This time around the standing room only was filled to its capacity with tables and chairs to make for a very sophisticated evening. The question remained was whether Venice could pull off their terrific four part harmonies without the studio gimmicks. The concert included the opening acts David Boyles and Tim Moyer. The former reminded me of the wordsmith and acoustic warrior Jason Mraz, bringing warmth to his hip-hop folksy music. Meanwhile, Tim Moyer followed up with his more straightforward power folk pop making for entertaining openers to warm up the crowd for the real thing. With a brief intermission, the anticipation and buzz began to gel within the venue as the crowd was anticipating the arrival of Venice. Clearly, many of those present were not experiencing this concert for the first time, unlike this reviewer. Venice is very much family affair with Pat and Kipp Lennon brothers while Michael and Mark Lennon are the other set of brothers. Meanwhile, the two sets of brothers are cousins and are apparently also related to the Lennon Sisters and Lennon Brothers who also achieved some significant commercial success a few decades ago. Clearly, the musical talent runs deep in this family as Venice quickly settled the score that they are not limited to their studio escapades. In fact, the live experience only enriches their four part harmonies making their voices and wholesome lyrics the focal point. All four of the Lennon brothers were seated with Mark and Kipp carrying the brunt of the lead vocals. While Michael and Pat more than ably assisted with their harmonies as well as Michael’s occasional lead vocal, they focused more on their guitar playing that was more impressive than expected from this laid back Southern California group. Influenced heavily by the vocal harmonies of Crosby, Stills & Nash and the classical folk rock made popular by the Eagles, Venice presented their own unique slant on things. Most importantly they were backed up by their long time bass player Mark Harris who has a Sade groove to his driving pulsating bass. As a result, there is a very interesting blend of world rhythms, classical rock and a very warm earthy folk/singer songwriter mentality as a result of their insightful and hopeful lyrical content. Add to the fact that the family affair translates to a very easy going and interactive presentation, and this only made Venice even more likeable and warm performing live. The concert opened up with the older material, courtesy of the rejuvenated “Mr. Lonely” from their debut album. They did not hesitate to continue doing this throughout, like with the poignant “People Laugh” and the amazing arrangements of “All My Life” intermingled with several well-known hits in seamless melody. All taken from their debut album, the songs had slightly new arrangements, giving them a lease on life and maturing them like a fine and expensive wine. Nevertheless, Venice was quick to add brand new material and presented to the audience “Lost Weekend” that was just recently composed. The band announced that this song is likely to appear on their latest studio endeavor scheduled to be released this summer. Of interest was the very reflective and old Venice ballad “Jenny” that has never been recorded and is also vying for a spot on the currently untitled album in follow up to their fine 2004 studio effort Pacific Standard Time. Meanwhile, the two hour personal and energetic concert performance did not prevent Venice presenting to their legion of followers some of their live staples. The first song that came to mind was the reflective “Starting Here Again” which featured the more powerful and rugged voice of Mark Lennon. Center stage, Mark had no harmonies to assist him and brought the crowd to its feet with his stirring and powerful rendition of this power ballad. Throughout the concert it is Mark’s more characteristic voice that combines wonderfully with the pure emotive tone of Kipp making for a magical merger of magnificent voices. Another crowd favorite was the four Lennon's’ going it alone with the very stripped down rendition of “The Family Tree.” Largely written by the band’s patriarch Michael Lennon, who has his production and technical fingerprints all over the band, the harmonies could not afford to be even slightly off. Needless to say, the song was in utter unison and accord making for one of the concerts many fine moments that brought the crowd to its feet. In contrast, the band was equally capable of stirring up the crowd despite the acoustic theme. From Pat Lennon’s spotlight via his instrumental “Pat’s Cajamas” to the thumping “One Quiet Day” and the moving “Think Again,” the latter taken from their 2002 studio effort Welcome To The Rest Of Your Life. Clearly the Lennon brothers are equally at home with the reflective ballads as well as their more upbeat material. In fact, they even made other artist’s material stronger as heard tonight courtesy of Todd Rundgren’s cover song “Can We Still Be Friends.” In fact, so powerful that they closed out the concert with the “Under The Boardwalk Medley” that included the obvious Drifter song intermingled seamlessly with James Taylor’s “Up On A Roof,” The Zombies “Time Of The Season” and Ben E.King’s “Stand By Me.” Once again Venice’s vital vocal vigor was pitch perfect and in utter harmony with each other. Venice has been around for a while and perhaps one of the reasons for their failed commercial success is their willingness to only perform and compose from their heart and not what is necessary to bend to the trend of the day. That said, their four part harmonies are an instrument in and of itself that when blended with lyrics that are real and hopeful make Venice a breath of fresh air. When all is said and done, Venice has brought to the Southern California area a musical approach that is nostalgic yet uniquely their own. And from that aspect, Venice is a triumph in an industry that demands compromise and homogenization. So much so that if you do not have an opportunity to see them live, at the very least pick up their live DVD Venice Live At The Royal Carre Theatre available only from their Web site. It may not replace the real thing but it comes darn close. And these guys are the real thing. Artist
website: www.venicecentral.com Concert
set: 1.
Mr. Lonely 2. Mary On My Mind 3. Back To The Well 4. Ashes In The
Snow 5. Again 6. Can We Still Be Friends 7. Never Coming Back 8. Starting
Here Again 9. People Laugh 10. Very Real 11. Right Where We Left Off
12. O Bahia 13. Pat’s Cajamas 14. Jenny 15. The Road To Where
You Are 16. Lost Weekend 17. Pushed Her Too Far 18. The Family Tree
19. Circus In Town 20. One Quiet Day 21. If I Were You 22. All My
Life (medley with "Sympathy for the Devil" by the Rolling
Stones, "I Still Haven't Found What I'm Looking For" by
U2 and "Oh Well" by Fleetwood Mac)
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