Wilco rocks the Crossroads

By: Grant Snider

Posted: 10/22/07

Thousands watched as fireworks capped a renowned rock act's performance at a new downtown venue. Sir Elton John was opening at the Sprint Center Saturday, Oct. 13.

John had his own fireworks display above the shiny new Sprint Center, while Wilco closed a stellar first season at the somewhat grittier venue of the Crossroads.

Though I loved singing "Crocodile Rock" in fourth grade music class, I opted to save $40 and see Wilco, a band not quite as far removed from their prime as John.

Formed in 1995, this Chicago sextet was alt-country before alt-country was cool. Summerteeth and Yankee Hotel Foxtrot were Wilco's forays into experimental rock and noise pop. These albums cast them as indie rock untouchables.

With their May release of Sky Blue Sky, Wilco crafted an album dangerously resembling '70s "freedom rock."

Another Chicago native, Andrew Bird, opened the show with his dizzying blend of classical violin, electric guitar and bird-like whistling.

His extensive use of looping pedals and his overwhelming technical ability resulted in some complex songs - nearly all of which came out sounding slightly less brilliant than the recorded versions.

Wilco delivered a more visceral concert experience. Bird's stage props were limited to a stuffed sock monkey and spinning phonograph-like contraption. But Wilco's songs were accented by more colored, flashing lights than a DUI checkpoint.

As Jeff Tweedy dreamed about murder in "Via Chicago," violently-flashing white lights over crunching guitars interrupted the otherwise calm folk melody. Epileptic seizures ensued throughout the crowd.

Drummer Glenn Kotche's nimble cymbal splashes propelled songs like "I Am Trying to Break Your Heart." Kotche's Cub Scout uniform was drenched by the end of the show.

If his precise, powerful rhythms provided the sonic canvas, Tweedy's soulful vocals painted alternately surreal or plain air landscapes.

Meanwhile, guitar noise extraordinaire Nels Cline splattered little colored sound droplets.

"Jesus, Etc.," was a beautiful, sensitive moment, as was "Hesitating Beauty."

But each time Wilco played a song from their new album, my thoughts drifted. They seemed to get a brand new guitar for each song.

The band sure wasn't dressed cohesively. Nels Cline looks like Sting, or maybe the singer from Spoon.

The third guitarist resembles Beck crossed with Brad Pitt dressed as Jesse James. Tweedy seems to be going for a Nashville Skyline-era Dylan.

I couldn't see the keyboard player because he was hidden behind everyone. And is Kotche his kid's den leader?

I refocused my attention as Wilco finished with "I'm the Man Who Loves You," then came back for the obligatory encore.

They closed with the overrated but pleasant "Heavy Metal Drummer." Had I not attended the Old 97's concert at the Crossroads this summer, I would have bolted across the mulched ground to the parking lot.

This time, I anticipated the controversial second encore. Sometimes, playing two encores comes off as cocky. Wilco succeeded in justifying the second encore, playing a thrashing version of "Outtasite," followed by a "Spiders/Kidsmoke" finale.

Fireworks exploded above the stage during the extended jam, echoing the earlier fireworks over the Sprint Center.

Wilco fans applauded a phenomenal show. And somewhere on Interstate 35, a middle-aged woman hummed "Tiny Dancer."

gsnider@unews.com