In our society of isolation, we’re all yearning for community – for a sense of belonging, of being wanted and being loved. Edward Sharpe & The Magnetic Zeros create just that space for all in attendance with their unique mix of exuberance, spontaneity, and genuineness. Theirs is a special, communal magic with their eleven-plus members all giving and taking with what seems like hundreds of instruments. At their Wednesday, September 18th show, I counted at least twenty guitars, a banjo, six bases, a Theremin, an upright piano, two keyboards, all sorts of percussion and drums, tambourines, bells, French horn, trumpet, accordion, and on, and on.
Together, with their constant interaction of give and take between themselves and the audience, they create a soul-stirring musical experience that leaves one awash in healing vibrations and a feeling of being right where one is suppose to be in that very moment.
As the “dancing reporter,” referenced in Ryan Gahris‘ review of Edward Sharpe and The Magnetic Zeros last year for Oregon Music News, I confess that I am biased as I report on the love fest that was Edward Sharpe & The Magnetic Zeros with Thievery Corporation at the Cuthbert Amphitheater in Eugene.
The double-headliner bill with Thievery Corporation brought a mixed crowd to the beautiful Cuthbert Amphitheater. Thievery Corporation played an energetic set, during which a lively dance party of a curious mix of people ensued in the pit. There were both the smiling, dancing souls inviting people into their space and those with the ‘fight for your right’ vibe maintaining their ‘claimed’ space. Though, everyone raised hands in unison with the engaging frontmens’ encouragement. Thievery Corporation gave a great show with their roving cast of performers, but they don’t seem as well suited for the large out-door arena. Theirs seems much more of a club vibe.
As the roadies worked furiously to change out the elaborate stage set up, fans crowded into the pit, pushing themselves up to the stage. Standing shoulder to shoulder, flush against the stage, hundreds waited in growing excitement for Edward Sharpe & The Magnetic Zeros.
The amphitheater erupted with cheers as the Sharpies filed onto the stage. After greeting the audience and shaking hands with those near the front, Edward Sharpe and the Magnetic Zeros opened with “If I Were Free”, a whimsical call-and-response story song reminiscent of “Sgt. Peppers Lonely Hearts Club Band”, from their new self-titled album (QRO review). When performed live, “If I Were Free” has more depth than the recorded version and doesn’t slip into the psychedelic, distorted, childish tone with the Sharpies calling questions, instead they harmonies a call and response without all the effects. The genuine pleading of Alex Ebert’s delivery and his interaction with the audience opens a space for a feeling of actual freedom.
A ferociously magnetic frontman, Ebert worked the crowd and band-members alike. He sat on the edge of the stage and shook hands with everyone who could reach him as he sang. He danced and made jokes with fellow Sharpies, and made eye-contact while singing directly to fans, creating a real sense that we were all there to experience ‘this’ together instead of just being played to.
As the Sharpies never make a set list, Ebert asked the crowd what to play next. After some deliberation and suggestions, they decided on “Janglin’”, which set the stage for a beautifully mixed set from all three of their albums sprinkled with covers and “Truth” from Alex Ebert’s solo album Alexander.
After playing “When You’re Young”, which fans didn’t seem quite as excited about — probably because it’s only offered as a bonus track, they erupted with cheers when the Sharpies started playing the familiar “Fiya Water”.
Jade Castrinos’ booming, heartfelt vocals were the highlight of the show. When she sang, “I’m sending you all my love… / You with a heart to feel it… / Love is within each heart to guide us,” the crowd responded with cheers. Her singing and presence were sincere, but Castrinos’ energy seemed low until someone from the crowd threw a fuzzy stuffed koala backpack onto the stage after they sang “Home”. She picked it up and showed it to Ebert, who took it from her and explained that it had first come to them in Florida. He was joking that it seemed more of a mule than a Koala at times, when he noticed someone in the crowed frantically asking for it. “Is this yours?” he asked, as he handed it to him.
Fans around this person exclaimed that it was not his, and the koala was passed back on stage and retrieved by Castrinos who explained, “The Koala wants to be on stage; it lives on stage.” Ebert then took it and strapped it to his chest and began dancing and snuggling with it. Castrinos sat and cuddled with the koala during most of the songs in which she wasn’t singing instead of dancing and beaming her beautiful smile as she has in the past. After the antics with the koala, more music ensued.
The gospel, happy-folk, sing-a-long “I Don’t Want to Pray” seemed to play as if Ebert was holding a talking stick and passing it to whomever he deemed ready to sing next. At one point he tried to hand the mic to the audience for someone to sing a verse, but he had no takers as the jubilant horn solo washed over the crowd. Ebert giggled and interacted with fans and the band as they played before he interrupted the horns “to hear the base,” at which point Seth Ford-Young played a deep base solo on the up-right base. This seemed to entice Stewart Cole to join in on the up-right piano and the song evolved into a peppy-ragtime number until Ebert asked guitarist Christian Letts (QRO interview) to sing a verse. Then the song resumed to into rounds of the chorus and everyone singing along, “Me I’m looking to become not the prayer but the prayer…”
Christopher ‘Crash’ Richards took over as front man at one point and brought the funk! He brought it and the soul with his fantastic falsetto singing “Motion Animal”. The crowd danced and sang along to the call and response, “I feel you.” After this funk fest, Ebert calmed down the mood and restored an almost reverent presence by suggesting “Mayla”. As the band began to hum and play “Mayla”, Ebert explained that it’s named for a friend’s daughter, Mayla Longtime Sun Embry. The crowed hushed as the beautiful harmonies of the song began.
After explaining that the band had not planned to play a long set because people were sick, Ebert waited for the groans of disappointment to fade, before explaining that our energy was keeping them going. He thanked the audience as he massaged his throat. Castrinos agreed with how much they love Eugene and relayed a story of their first tour when she addressed Portland as Eugene. Embarrassing!
The Sharpies played for another full hour, and the crowd seemed as though they could go forever.
Noting the contrast between the fans and the energy between Thievery Corporation and Edward Sharpe and the Magnetic Zeros, I felt the destructive energy intrinsic in uprising and wondered if a world of inclusion painted by Edward Sharpe & The Magnetic Zeros will ever be possible. Buzzing with loving vibrations, I left feeling that it could.
The first Edward Sharpe & The Magnetic Zeros ‘Big Top Circus’ transpires next month. It promises to be phenomenal. Could it be a glimpse into a better future for us all?
