Years ago, when they were just starting out, the Avett Brothers consisted of an acoustic guitar, a banjo, some upright bass and a healthy dose of southern charm. Today those ingredients are still present, but they’re also surrounded by orchestral moments, drums, fiddles, keyboards, electric guitars and a larger-than-life sound.
Oh, and there’s even the occasional kazoo solo for good measure.
For better or worse, these elements have changed the band’s studio output since 2009’s “I and Love and You,” but their translation to the live stage cements the Avett Brothers as one of the best live acts around. At the Sprint Pavilion Oct. 30, the seven touring members seamlessly turned meticulously crafted tunes into jam band sessions, including a well-placed Jerry Garcia cover. The highlight of these energy-fueled moments was “Pretty Girl from Chile,” which ended with a punk-flamenco crossover that sent the crowd wild.
Of course, the Avetts are known for their intimate sincerity, and they reigned themselves in for a few stripped-down moments. “Shame,” “I and Love and You,” “Through My Prayers” and “Swept Away” are all tearjerkers, and their live counterparts all carried the same level of emotion.
The setlist was heavily weighted towards 2016’s “True Sadness,” which was far from the band’s best output. Thankfully, all of these songs translated perfectly in the live setting. The groovy bassline of “Ain’t No Man,” the triumphant feminism of “True Sadness” and the glaring fiddles of “Satan Pulls the Strings” all ended up being crowd-pleasers. The best moments came from the band’s earlier output (“Head Full of Doubt/Road Full of Promise” was a perfect opener), but the setlist as a whole didn’t let down.
Between the energy, the emotion and the variety of the show, the Avett Brothers concert was the perfect way to cap off Halloweekend. The band has a clamoring fanbase for a reason, and it was difficult to leave the show without becoming a part of it.
Read More
“Nightbitch” is a shallow satire of motherhood that delivers little beyond its absurd premise
By Zachary Geller | 1 hours agoThe film contains similarities to recent pieces of modern feminist cinema, but fails to deliver on any genuine, groundbreaking societal commentary.
Virginia band Illiterate Light blends Appalachian folk with West Coast rock
By Amelia Lucien | 1 hours agoAttendees can expect bigger production, a new light show and even more of the unplanned dynamic moments that make Illiterate Light such an exciting band to see in person.
“Anora” starts the Virginia Film Festival on a triumphant note
By Zachary Geller | Yesterday“Anora” tells the sprawling tale of Anora, played by Mikey Madison, an erotic dancer in New York City discontent with her life in the club scene.
