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 The Watson Twins |
 M.Ward |
 The Watson Twins |
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Story and photos by Gypsy Davey The evening couldn't have started more beautifully than to begin with the wonderful Watson Twins. They Kicked the night off with new material from Fire Songs' in "How Am I To Be," and "Waves," not before sandwiching in their delicate rendition of the Bill Withers cover "Ain't No Sunshine," between the two. The inaugural live performance of the yet to be released Tell Me, Tell Me Why preceded their now infamous cover of Cure's "Just Like Heaven," also found on their latest Fire Songs release. Their set's highlight was with the gorgeously sung "Southern Manners," from the self-titled EP. The last bit of sunshine pushed out, hanging behind it, the dark ominous storm clouds of M. Ward approaching...The recondite M. Ward emerged in chiaroscuro fashion to paint Milwaukee with his morose. With identity concealed in darkness, Ward allowed his music to take the forefront, and what a commanding presence it captured. The finger-picking phenom really started to showcase his talents when he took control of the stage for a couple of impressive solo takes, starting with "I'll Be Yr Bird" from Transistor Radio, before rollin' and tumblin' into the evenings highlight. Ward - alone on stage - explored the fullness of sound generated from the sole instrument heard - his guitar. It was nothing short of mind blowing! His vocal styling is soft, with full-throated tenderness behind his rasp, which helps to add much needed warmth to his overall caliginous vibe in subject matter - together providing a nicely woven contradiction. "Post-War's Poison Cup" to "Transistor Radio's Four Hours In Washington" served as a nice mid-set, up-tempo pair, but it only rocked harder from there when Ward took helm behind the ivories for the rollicking "Hold Time Cut, To Save Me." The bass chops of the alt-country "Fisher Of Men" that followed, kept the "Hold Time" theme going, before returning us to "Radio's Big Boat," which brought to a close the very short but focused evening. There wasn't anything noteworthy for the chosen double encore, appearing first with "Roll Over Beethoven," and again for "Magic Trick," before leaving us for good. To use an appropriate line from the closer, but altering gender, I'll end with this...he's got one magic trick, just one and that's it, ooh...he disappearsÉand disappear he did, receding from what little light illuminated the stage, he was gone. |
 M.Ward |
 The Watson Twins |
 M.Ward |
 M.Ward |