Lifehouse Concert Reviews

[gogonutz]

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Hanging By a Thread, Dragging Out a Moment
Lifehouse
The Vic
Chicago, IL
Mar. 26, 2003

Story and Photos by Andy Argyrakis

The last time Lifehouse was scheduled to play the Vic Theatre was September 11, 2001 and despite that show being canceled due to obvious circumstances, it was rescheduled later that December. I remember attending that sold out show and being moved by the band's timely lyrics of hope and spirituality throughout the national crisis, along with members' contagious enthusiasm and energetic presentation of material from their major label debut No Name Face. As I fast-forward a year and a half later to the band's new album and tour stop at the exact same venue, the troubled state of America remains while front man Jason Wade's inspirational vignettes are just as applicable in wartime as they were following the initial terrorist attacks. Regardless of that lyrical prowess, Lifehouse's burning desire to convey such messages in fiery alternative rock settings have disappeared in favor of lethargic presentations steeped in their sluggish decay. Based on the sagging quality of their latest Stanley Climbfall endeavor it's early to see why, especially given the fact that it could never live up to the standards of a double platinum disc that spawned "Hanging By a Moment" (the most played radio song of 2001). Despite the band's effort, their attempts at equal sophomore status were futile, as Stanley Climbfall fails to extend upon their budding innocence with experimental evolution, instead finding Lifehouse restricted to the safety zone of scruffy vocal moans cross-pollinated with sweeping guitars and a series of assembly line beat manufacturing.
The first single off Stanley Climbfall called "Spin" made an early inclusion in Wednesday's 90 minute set, but like cuts culled from the rest of that disc, it failed to touch the almighty sing-a-long powers of "Hanging By a Moment" or even follow-up hit "Sick Cycle Carousel." Current single "Take Me Away" has much more of an awakening effect on record than "Spin," though by that selection performed late in the set, Wade and company run out of the little steam they took the stage with in the first place. Unfortunately, the same sleepiness seeped into "Everything," a track normally known for its spine-tingling electric buildup, which was instead simply phoned in before an understandably unresponsive Vic crowd. Oddly enough, the group chose to play such selections back to back, and within such close parameters they sounded extremely similar. (There was even a point during a guitar solo in "Take Me Away" when I was able to lean over to my girlfriend and sing a few lines of "Everything" that fit like hand in glove within what sounded like a carbon copied time signature and chord progression!)
Besides such plugged-in rockers, Lifehouse is also known for its share of acoustic ballads laden with open-ended spiritual euphemisms. A brief acoustic set included past album cuts "Breathing" and "Somewhere in Between," followed by a semi-stripped stab at the new cut "Sky Is Falling." During this segment, the energy level dipped to its all time low, and as I looked over the tip of the opera box directly at the sparsely populated balcony, virtually the entire section was sulking out of sheer boredom and disinterest.
That scene and Stanley Climbfall's slowed down sales only verified that the sand in Lifehouse's hourglass is more than half expired as its better moments were on the last tour. It's really a shame, especially considering the group's positive lyrical light combats most of the TRL trash circulating nowadays, but as alluded to in the current record's title, even group members probably realize they've past the climbing stage and about to take the fall.

[gogonutz]

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Lifehouse Opens Up Tour at The Rave
Lifehouse
The Rave
Milwaukee WI
September 10, 2001

Story and Photo by Phil Bonyata

Kicking off their solo American tour at the Rave Monday night, Lifehouse upped the ante over their engaging, but rather lifeless performance at the Marcus Amphitheater last summer. One reason is they opened for 3 Doors Down and were barely granted 30 minutes of stage time. Apparently not enough time to absorb Jason Wade's personal and introspective lyrics. This time they played for nearly an hour an a half. Much more time to absorb their style of music. The band consists of lead singer, guitarist and principal songwriter, Wade, bassist and band co founder Sergio Andrade, drummer Rick Woolstenhulme and tour guitarist Joerg Kohring.
Wade states that "my songs come from a broken place. Writing was therapeutic for me." The music of Lifehouse certainly resonates with a heartfelt desire for others to hear and hopefully respond and react in personal ways. Opening with such melodic and introspective numbers like "Unknown" and "Only One," the adoring crowd took in the slow wave of music that crept out of the gates then pulled you in as Wade's raspy baritone and sometimes falsetto expressed the urgency and directionless mood of the collective teen-age spirit. Success has come swiftly for Lifehouse. Their debut album No Name Face is multi platinum and has taken the band and many fans by surprise. On the pop anthem "Everything" Sergio let the frets burn as his short legs danced a stutter step to every note change. It helped to energize the music. Make no mistake Jason Wade is a sex symbol, a kind of Val Kilmer meets Jim Morrison, except much more humble. As the girls shrieked midway through the concert the band surprised almost everone by playing their huge and only hit to date, the love song that tries to say it all "Hanging By a Moment." This is a brave move for a band with only one hit. It worked. By getting the familiarity out of the way rather quickly, the fans were able to focus on other strong songs like "Sick Cycle Carousel," "Simon" and the sad "Quasimodo" without the anticipation.
The future of Lifehouse weighs heavily on the young shoulders of Jason Wade. If he is able to tap into the painful memories of his youth and exorcise his demons through his lyrics, this young band might just have a promising future.

[gogonutz]

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3 Doors Down Sparks Summerfest
3 Doors Down / Lifehouse
Marcus Amphitheater
Milwaukee, WI
July 6, 2001

The long road has given 3 Doors Down it's current commercial success. Incessant touring the last two years have gotten the word out that these guys really can rock.
When the band played all of those local bars in Biloxi, Miss., the fans became so enamored with them that they enlisted the local radio station to help. Through non stop requests for the bands' song "Kryptonite." The radio station's acceptance led to a series of gigs all over the U.S.
3 Doors Down triumphantly returned to the Marcus Amphitheater at Summerfest last Friday night after playing one of the smaller stages last year.
Lifehouse The bands' records and videos don't quite capture their natural chemistry. Ever charismatic lead singer Brad Arnold opened with "Duck and Run" - a Creed like song on record, but performed live the song took on it's own electricity and charm. Arnold's posturing and natural stage presence was that of a seasoned rock veteran. Living for the stage will do that to some people. The band fanned the flames with their monster breakthrough hit "Kryptonite," an infectious and catchy pop song. You can't help but like this song. The band floored the gas pedal as their sound became harder and a little darker.
Arnold lyrics tend to be very personal and the passionate way in which he sings them only heightens the lyrical content. The band closed with the overplayed "Loser." The song's somber lyrics and melodies start grating after a time. The only lowlight to an otherwise sterling evening of rock 'n roll.
Lifehouse took the stage ahead of 3 Doors Down. They lit right into their MTV smash "Hanging By a Moment." The song has catchy hooks and smart lyrics. It's straight ahead rock n' roll anchored by Wade's intense and very personal lyrics. His lived a hard life at the young age of 22. Lead singer Wade has all the boyish charm that helped to hold the attention of the audience for the rest of their show, when sometimes the music didn't.

[gogonutz]

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CONCERT REVIEW
LIFEHOUSE
by Brian Blair
photos by Jackie Butler

Lifehouse
Barracuda
Portland, Oregon
January 31, 2005

An overly successful single can be as much of a detriment to an artist as it can be a godsend. Sometimes, being a one hit wonder is simply the result of not ever being able to produce another song that matches the one that established the act in the first place.

Lifehouse certainly knows the strains of living up to a past success. The group's first single, Hanging By A Moment, was a radio staple and came in at number one on Billboard's year-end Hot 100 chart in 2001. Propelled by the smash hit, the group's debut album, No Name Face, hit double platinum status. When the group returned the following year with Stanley Climbfall, it was a mediocre success and, to date, it's only sold 373,000 units.

In the time since Climbfall's release, Lifehouse's label, Dreamworks Records, was swallowed up by Universal Music Group, and founding member Sergio Andrade exited the band, as did second guitarist Sean Woolstenhulme.

Now with Bryce Soderberg (A.M. Radio) filling the bassist vacancy left by Andrade, vocalist/guitarist Jason Wade and drummer Rick Woolstenhulme are out on the road promoting the group's upcoming self-titled album with a series of radio station shows. The group's stop in Portland, sponsored by 105.1 The Buzz, was no different.

Like many radio station events, the evening seemed to be as much about promoting the station as it was about the band performing. From the merch table selling CDs of the station's horrendous morning show, Nelson & Terry, to the parade of show personnel on-stage before getting on to the music everyone had come to see, The Buzz was hyping itself at every turn.

Casually walking out to the somewhat bare stage, the trio appeared ready for a low key affair. Wade, a one-time resident of Gresham, was equipped with an acoustic guitar that he used for the entire set, Soderberg brought with him an electric bass and Woolstenhulme played what Wade characterized as a "little midget set" of drums.

A few minutes after 7 PM, the threesome opened with Spin from Climbfall and moved into a semi-acoustic set that featured three songs from each of the band's two full-length releases and three selections from the band's upcoming release. Among the newer tracks was the group's new single, You & Me, a somewhat unknown composition from Lifehouse's past that has been reworked for the new album.

Sitting on a stool and working through selections from the band's catalogue, Wade looked as if he'd aged more than just four years in the time since No Name Face was released. It's not so much a haggard or weathered look as it is a look of someone who has grown and matured through a few years in the business and on the road. Gone is that 20-year-old trying to hang on to an overly accelerated career arc and he's been replaced by a more focused musician.

While Wade's evolvement may mean good things for the upcoming album, it didn't do much for the band's brief set. Songs seemed indistinguishable from one another and the audience appeared to be supportive but only half-heartedly. The stripped down nature of the performance did little to sell the material and there was a feeling of "Okay, let's get to the song," in the room.

After 40-minutes, Wade announced that the band would play one more song and the room erupted into a brief frenzy as the group launched into Hanging By A Moment. Even in its bare minimum state, the song holds up as a well-crafted piece that duly deserved the recognition it received when it was first released. Grateful to hear the hit, the audience responded by singing along and Wade would halt his own vocals in an effort to let the room have its moment.

Then, it was over. A 45-minute set that featured no opening act and didn't make way for another performance came to a close with no fanfare. It was done and the band meandered off stage waving to the crowd of several hundred. It could be argued that the set was too short but it could also be argued that it was about eight songs too long and that everything prior to the final number was musical foreplay. It's not fair to a band that has crafted some intelligent songs but, sadly, it's the reality of a group living in the shadow of a hit.

[jolene102]

thechosenone00 said:

I didn't really know where to post this, I figured here was as good as anywhere

On myspace they have Today's 100 top artists with Major labels. We are at 100 right now (at least we made the list)
the Goo Goo Dolls are at 72
and Colbie Caillat is at 27
Just thought I would share in the irony that the opening act for LH and the Goo Goo dolls is (apparently) more popular than both of them.

i still don't understand what people say is so special about her. it's nice like she's unique in anyway. she sounds pretty much like all the girly singers. it must be because sh'e so *cute* and innocently sweet. I just don't get it.

[klein]

I actually like Jason Reeves better, which is funny because he OPENS for colbie caillat at her regular shows.... but he's a much better singer and writer... he's got more charisma too...
www.myspace.com/jasonreeves

just needed to plug him here, cause he rocks.

[gogonutz]

Well, I don't agree that she sounds like any other girl singer. I do think she has a much better voice than 90% of the currently popular girl popstars. I think lyrically she's not the best, but her songs are really quite catchy. Nothing revolutionary, but she makes songs that are fit for airplay and she performs them well (singing, not charisma/stage performance wise). And she's very young, and 'stardom' seems right around the corner for her, so it's all new. I'm not sure if she'll be around for long, but I think she has the potential. Don't think I'll be following her career closely, but if she'd be around and playing a nice little show (preferably a coffee house lol or a little acoustic set) then I'd most likely go see her play.

[Kaliko Rosa]

Wow, I didn't think the Goos would get this kind of crticism on performance and song selection... I enjoyed their show...

But of course, I was there for Lifehouse, and our boys were bang on. That's what matters .

[katelyn]

I found a review of the Hilary Duff show with a small mention of Lifehouse at the end.

seattletimes.nwsource.com/html/musicnightlife/2003825848_hilary08.html

Hilary Duff concert like a Disney video — with stilettos
By Taya Flores

Seattle Times staff reporter

Former Disney teen queen Hilary Duff may be trying to reinvent herself with an older, sexier look, but the once-blond 'tween idol's music — and audience, for that matter — has yet to reach maturity.

Moms, dads and girls in the 8- to-10-year-old range ventured out to the Everett Events Center Monday night to see the former Lizzie McGuire shake it in four-inch stilettos and silver booty shorts as part of her Dignity tour.

Although the auditorium was only about 25 percent full, as soon as the show started, the crowd erupted with cheering and feet stomping. They were ready for Lizzie — oops, I mean Duff — to start singing.

Male dancers strutted out runway style, froze, then danced in strobe-light glory. The female dancers matched Duff's initial get-up, sporting blue short jumpsuits with exposed pink bras and stilettos.

Duff opened with crowd favorites such as "Coming Clean," "Beat of My Heart" and "Our Lips are Sealed," belting out the catchy hooks in her light, airy voice, which still has a childlike quality.

The music had such a prepackaged sound that it was hard to tell if the musicians were actually playing. The young band members banged away at drums, strummed the guitars and fingered the piano in a manner akin to a Disney Channel music video.

There was no edge, or spontaneity to the sound, just a sing-song rhythm repackaged and rehashed to accompany Duff's multiple outfits and play-acting choreography.

"So Yesterday," was a little better. The band infused it with a reggae beat, and the Bob Marley hook, "Everything's gonna be all right" from "No Woman, No Cry," which made the song less predictable.

Her rendition of "Love is a Battlefield" was equally surprising, replacing Pat Benatar's angry edge with a poplike ode to girl power.

New songs from her "Dignity" album ("With Love," "I Wish" and "Dignity") amped up the pop appeal with edgy electronic beats — not as robotic as the Bravery or as club-friendly as Justin Timberlake, but entertaining enough.

She closed with the best song on her "Dignity" album, "Stranger," which has a seductive Arabic flute and pulsating electronic beats similar to Britney Spears' "I'm a Slave for You."

Although the music lacked substance, one thing is clear — the girl has got style and a powerhouse marketing machine. Her fans left decked out in Duff hoodies, and holding glow pens and pamphlets covered with glamour photos of the pop-star-in-the-making.

The opening act, Lifehouse, was more musically mature — too bad the crowd didn't know who they were. The band rocked out with lead singer Jason Wade's trademark raspy, sultry voice soaring over escalating guitar riffs in "Hanging by a Moment" and over the slow melodic "You and Me."

[Yuliya]

Thanks for the HD review. It's a shame such great music was wasted on people who didn't even know who they were