I’m overdue to head back north, racing for the direction where things should be wrapped up tight in a nice little bow, or at least packed up in cardboard and covered over with tape. Progress on the move has been slow and steady and not fast enough and I’m facing the very real possibility of having to cancel some of my farewells so that I can ensure the movers have stuff to actually take with them, since I’m not enacting the Bonfire Plan for the move to New Orleans. In the meantime, I’ve spent another weekend in Atlanta for so many good reasons, one of which was the first of two opportunities this week to see Counting Crows.
I feel like Counting Crows show posts for me should already come preloaded with the emotional ramifications, baggage, and impact of all prior such shows. Lord knows you can find a lot of that background information already in here (just pop “Counting Crows” into the Search function on the sidebar and see what happens). But there’s a reason that “Awareness is never enough – it must always be wonder” is a seminal phrase in my life, a watchword for my experience of the divine, and a clickable tag/category in this here blog format. Because it’s true.
I should be getting coffee and on the road for ten hours soon, so I don’t really have time to do the full concert justice. Suffice it to say that they opened with a classic 10-minute “Round Here”, went on to do one of their better covers from the recent cover album, and then Adam announced to the crowd that he had written a song for me.
Okay, not really. But kinda really.
I’ve been trying to find the lyrics online to prove to you that I’m not making this up. But listening to “Cover Up the Sun” for the first time in my life brought back exactly the same chill that “Mrs. Potter’s Lullaby” did on the pre-release quasi-illicit MP3 back in Waltham so many eons ago. But (remember the phrase!) even more so. Way more so. The song includes the lyric “When I left California, I was 29 years old, and the world just spun me round.” Which, okay, maybe that’s something Adam Duritz and I inadvertently have in common, though I’d never quite put it together before, but sure. But when the next lines are “Now I just watch Louisiana scroll across the window pane, and I’m facing the direction I am bound”, well, it’s enough to make a solipsist of the best of us.
Yeah, the song is about leaving the west and moving to New Orleans. There’s only a couple of references to the New York City area just thrown in for fun.
Of course I am not the only person who feels this way about Counting Crows or their lyrics or their shows. The magic of the band, as I’ve said repeatedly here, is being able to gather together thousands of people for whom the songs were written and feel the absolute power of people belting along to songs that are about them and to share that experience with everyone else who feels the same way and yet somehow have none of the charm of the song being about them reduced by the shared gathering. If anything, it’s enhanced. It’s perhaps in these moments that we get closest to the Jewish idea of God (although I note the irony of that statement in print, because I’d have to cross out the o for it to really be Jewish, but I’m not gonna because I find the idea of an unnameable God so distasteful, no offense dear Jewish people), with the re-convergence of all our divided split light, that we are all the same in our unique brightness and by coming back together, we can drown out the sun.
There were a couple more covers than I would have chosen for the set (I could probably go without “Friend of the Devil” for the rest of my CC life, though the intro to it this time ’round was hilarious) and I’ve probably never cried less at one of their shows, though this is largely because I am happy, both in the moment and with the visible trajectory of the near future. But it was also a summer set of joy and energy and just the right amount of bitterness to recognize the year just ended. And while none of the other new songs quite lived up to the power of that first one, they all sound at least intriguing and at most like future sources of wonder.
Maybe Counting Crows shows are well written horoscopes, online quizzes, or tarot card readings, that we can find our own meaning in the deeply expressed emotion of Duritz and friends bleeding out on stage. You can take the cynical road if you want to and I’ve never lately begrudged anyone the cynical road. But at the risk of being the sucker who falls for the seventeenth time, I prefer a deeper, more fundamental explanation. In a recent debate round for a summer exhibition tournament, I explained how free will is compatible with a tri-omni vision of God, how I believe we are all offered free will as the ultimate sign of respect and love. Much of my third novel is about exploring this concept as well. And yet, somehow, there always seems to be room for this incredible sense of everything working out, coming together, being for a reason. I don’t think it’s absolute or as powerful as free will, since refugees routinely starve to death in diseased camps after watching their families die, but the feeling of a benevolent net from the universe is palpable. Maybe it’s first-world privilege, which was on display at an other-worldly level in the Chastain Park Amphitheatre in Atlanta last night, but maybe it’s just our best burning bush, coming to you live on a perfectly-lit stage.
The rant about people leaving CC shows complaining that he didn’t play “Mr. Jones” will have to wait till after Atlantic City.
22 June 2014
Chastain Park Amphitheatre – Atlanta, GA
with Toad the Wet Sprocket and Daniel and the Lion
new songs in italics
Round Here (Private Archipelago alt)
Untitled (Love Song)
Cover Up the Sun
St. Robinson in His Cadillac Dream
Recovering the Satellites
Like Teenage Gravity
God of Ocean Tides
Friend of the Devil
Big Yellow Taxi
A Long December
You Ain’t Goin’ Nowhere
Rain King (Oh Susanna alt)
Holiday in Spain