Concert Review: Nadia Larcher and Ensemble Ibérica at MTH Theater

Nadia Larcher called Beau Bledsoe a dreamer during her North American debut at MTH Theater on Monday, October 14.  After taking in her astonishing performance, I now think of the leader of Ensemble Ibérica as an expert talent scout.

Bledsoe told an audience of less than 100 that he stumbled upon Larcher in an out-of-the-way theater in Buenos Aires by happenstance last year.  Even though the Argentinian was showcased in a 75-minute symphonic concert in 2017, Larcher is still so obscure that the video of the exquisite performance in Buenos Aires has less than 2,500 views.

The $34 I paid for my ticket covered only a pitiful fraction of what was almost certainly a huge investment to get Larcher to Kansas City, but her show was an artistic windfall.  Accompanied by guitarist Bledsoe, violinist (and translator) Christine Brebes, multi-instrumentalist Amado Espinoza, pianist Brad Cox, bassist Jeff Harshbarger and percussionist Brandon Draper, Larcher demonstrated that her tiny frame houses a massive voice and an even bigger personality.

A few of Larcher’s songs were about cowboys and the travails of agrarian life in Argentina.  That’s misleading.  Larcher is clearly professionally trained.  Her approach is no less refined than the sophisticated sensibility of the Broadway star Kelli O’Hara.  I can’t speak for Bledsoe, but the magnificence of Larcher made my dreams come true on Monday.


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I contribute weekly concert previews to The Kansas City Star.

(Original image by There Stands the Glass.)

Review: The Owen/Cox Dance Company's "A Body of Work"

As the rest of an audience of about 100 watched five athletic dancers at La Esquina on Sunday, October 5, I studied Brad Cox as he manipulated sound at the back of the room.  I have nothing against ballet, but Cox's stunning score for The Owen/Cox Dance Group's production "A Body of Work" demanded my full attention.  Using a combination of prerecorded backing tracks, ambient beats derived from the dancers' movements, a drum machine and the live vocals of Victoria Botero, Cox crafted a compelling soundscape.  Additional percussion emanating from four hanging columns and a quadrophonic mix made the experience even more dizzying.  Cox's exceptional performance was a civilized version of the futuristic work of groundbreaking acts like Marijuana Deathsquads.


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I reviewed Tuesday's concert by Gaslight Anthem, Against Me! and Cory Branan.

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The Kronos Quartet's performance at Helzberg Hall floored me on Saturday. 

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Ikey Owens of Mars Volta has died.  Owens recently produced Various Blonde's Summer High album.

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John Holt of the Paragons has died.

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Here's a video tour of the Vinyl Underground at 7th Heaven.

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Local Customs: Cavern Sound, a compilation of forgotten bands from Independence, will be released this week.  The only name that rings a bell is Morningstar, a band I hadn't thought about in at least 25 years.

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Iceage's Plowing Into the Field of Love is shockingly raw.  RIYL: The Fall, drunken stupors, the Birthday Party.  Here's "How Many".

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The video for Bonnie 'Prince' Billy's "Quail and Dumplings" is almost as good as the song.

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It's not fair to Vince Staples, but almost all I could think about as I listened to Hell Can Wait was how much I still love Earl Sweatshirt's Doris.  RIYL: OFWGKTA, Los Angeles, the Cool Kids.

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On Worker, the latest studio album by Jacob Fred Jazz Odyssey, the Oklahoma band veers into electronic territory.  RIYL: Soulive, acting on impulses, Galactic.

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SZA's fine new album Z is RIYL: Sade, slow motion, Frank Ocean.  "Babylon" is the best track.

(Original image by There Stands the Glass.)