The second half of moe.‘s two night run in Colorado saw the band wound up and ready to bring faithful fans from near and far who had packed the Boulder Theater for a show for the ages. After a spectacular showing the day before at the Red Rocks Amphitheater as part of an epic co-headlining set with Gov’t Mule, moe. continued their year long habit of playing a special, smaller scale show that was filled with surprises, treats and smiles all around. Die hard fans have learned not to miss the intimate shows as the band rewards lucky attendees with deep cut special shows that delight and amaze.

As guitarist Al Schnier would later note to raucous cheers, this night was billed as an “Evening With moe.” and it was planned from the beginning to be an expansive two set and extended encore affair. A task left unfinished from the day before, an open and unfinished “Rebubula,” whose first half had opened their Red Rocks set and lay looming and ripe for revisiting and solidly uniting the two evenings that had sharp eared fans listening for familiar chords. Reaching all the way back to their very beginnings moe. opened the set with the until recently long dormant “Defrost Kelly” to warm fingers and hearts before sliding into an always welcome “Akimbo.”

Always a showcase for guitarist Chuck Garvey and Schnier to comically square off against each other, a clearly bemused bassist Rob Derhak watched on as his flanking band mates traded licks and grins.  After filling the room with a spicy “Smoke” the band started a funky “Meat” that had funky ebbs and flows before the song turned into a showcase for the exemplary vibraphone, xylophone and marimba skills of percussionist Jim Loughlin.

Mallets were flying and minds were melted as halfway through “Meat” the equally vibe heavy tunes “Tubing The River Styx” lead into a dark and spiralling visit to the very depths of “The Pit.” Loughlin’s furious work disguised the amazing precision he has steadfastly worked to hone over the last few years. 

The entire first set flowed from song to song unabated into an epic “Tailspin” that upped the energy in the room approximately a thousand percent. Derhak gleefully dove into the bass slapping solo. His perma-grin was part of the overwhelming vibe of silliness and contagious joy shared between the band, crew and crowd as old friends and new threw themselves into the evenings revelries with equal abandon that honestly was a pleasure to behold. With all the worries of the world, the gift given by the performers of a few hours escape any thought outside ones of life affirmation and joy.

That infectious spirit that has always been a big part of moe.’s identity was on display beyond the stage that night, as a sign on the stage announced  that a new twist in the way the band communicated with their fans had been established…a moe. “Hot Line.”

A small sign posted on the stage monitor had fans pulling out their cell phones at set break to see what would happen. People were shocked to find that the band was not only responding, they were showing a snarky sense of humor as always. The internet quickly filled up with snapshots of screen captures and reports of bizarre conversations which have continued to this day.

 

Having spent their set break clowning around with their new toy, the band came back out smiling and laughing to each other before launching “Spine Of A Dog,” a tune that does a good job showcasing the band’s diverse strengths. Nonsensical lyrics give fans a fun hook to sing along with, while intricate and intense guitar melodies and a wild drums and percussion break whipped the audience into a frothing frenzy to the band’s delight.The layout of the Boulder Theater made it an ideal place for interaction, with the terraced main floor and low and close balcony keeping moe. and their “moe.rons” eye level and completely connected.

A tight version of the deceptively named “Jazz Wank” gave way to the first notes of the instantly recognizable Pink Floyd classics “The Happiest Days Of Our Lives>Another Brick In The Wall” accompanied by a boisterous welcoming cheer. Fans who had been online fooling with the hot line noticed that one of the messages that had been answered was a request for the spunky percussionist to sing, and now, minutes later he was doing just that. Coincidence? Whatever the reasoning, the walls echoed with demands of teachers to finally leave those kids alone.

Closing out a long run of songs segueing with the dance party jam “George”, moe. paused to catch their breath and were bent back from the waves of cheers and positive energy. Riding that love, Derhak sent shivers up spines with the first bass notes from “Buster.” The normally generous portion of expansive jamming that dominates the second half of the tune was blown out yet farther, with all five members seizing attentions with grandstanding solos that still managed to propel the melody and thrust of the tune. To be able to find fresh ground on such a well explored song bodes well for the creative force of the band.

As the odd time signature end of “Buster” gave way to an escalating, twinkling jam, the patience of “Rebubula” fans was rewarded with a call back to the previous night’s unfinished version that once again united the entire club in a wicked loop of energy passed from the stage to the crowd and back again. When the song came to its tragic, calamitous conclusion the audience seemed to come crashing down with it from the heights the band had elevated them.

Leaving to uproarious cheers, the band caught a much needed respite before the earnestly chipper Schnier came out to connect with the crowd in the segment of the show affectionately known as “al.nouncements.” The pun loving crowd was thanked by the guitarist profusely, who read a series of notes passed to him and the crew earlier in the day. Mentions were made of birthdays, bachelor parties and show anniversaries that ranged from someone’s second show to someone else’s 251st.

That sort of dedication shows plainly speaks to the loyalty fans feel towards the music that feeds their souls, and moe. has made a lot of life long friends through their music over the decades. One of the messages read was from a fan who had been seeing the band for 16 years, and her wish for them to consider playing their version of the Violent Femmes’ “Blister In The Sun,” which had been played at her first show. She was on up front as he read her message, and thanked him profusely for the love he and the band had brought into her life. She spoke for herself, but her words could have just as easily come from anyone in the love filled room.

While he always loved working with his friends in Gov’t Mule, Schnier explained that he had been, like many of the fans in the room, looking forward to this chance to really spend an extended period with the audience. As he said those words, long time guitar tech Frank Robbins whisked out stools and acoustic guitars and bass for the guys on the front line, while drummer Vinnie Amico picked up his jazz brushes to take the band on a special acoustic encore set.

“Blonde Hair And Blue Eyes,” written to Derhak’s mischievous daughter, especially benefited from the acoustic treatment, with the lyrical whimsy strengthened by the lighter instrumentation. The western themed “Shoot First” gave Garvey a chance to slip into fun-slinger mode, and his alternating laughter while singing and deep focus while nailing the glass slide solo showed the dexterity of performance skills that the bands 25 plus years has honed to razor sharpness.

Deep cut and fan favorite bluegrass tune “Blue Eyed Son” made a welcome appearance at the planned end of the set, before the band decided to honor the recent request and whipped out an unrehearsed and delightfully on point rendition of “Blister In The Sun.” Tears of appreciation were still being wiped away from one fan’s face while the band grabbed up their electrified instruments once more for a rousing closer, “Sensory Deprivation Bank.”

Some four hours after the first notes the band stood waving at a lit up crowd of people who been on a journey with them faced each other one last time for the evening, thanking each other for sharing the night. Derhak took a moment to personally pass along a set list to the woman who had had her “Blister” wish granted, reminding her the song wasn’t written on it. He quickly got a pen and added the tune by hand, and made her souvenir complete before passing it back to her.

Any fears fans might have about moe. growing complacent or weary after their decades of inspirational performances should rest easy after shows like the one for the ages the band turned in Friday in Boulder. If anything, the band is at the top of their game, and with new material and what has been described as a “touring year” on the way the future is decidedly bright for the band and the people who live for the lift their music brings to the world.

Thanks again to the efforts of taper Flarcus you can stream the entire show below:

moe.
8/26/16
Boulder Theater ~ Boulder, CO

I: Defrost > Akimbo > Smoke > meat. > Tubing The River Styx > The Pit > Tubing The River Styx > Tailspin > meat.

II: Spine Of A Dog > Jazz Wank > The Happiest Days Of Our Lives > Another Brick In The Wall (Part 2) > George, Buster > Rebubula#

Enc: Blond Hair And Blue Eyes*, Shoot First*, Blue Eyed Son*, Blister In The Sun, Sensory Deprivation Bank
* acoustic
# completes 8/25/16 version

A full gallery of shots from our own Rex Thomson is below:                                                                                                                                                                                                          Â