Jack White is YouTube’s Greatest Rock Show: Review

When Jack White sang in Los Angeles on his post-White Stripes tours, he often chose venues that fit the grand but gritty rock aesthetic: historic, grandiose and perhaps subdued venues like the Mausoleum and the Maya. Take a look at the running “Supply Chain Issues Tour” itinerary, though, and you’ll find that he prefers newer, shinier places. (The exception would be his April appearance at the Masonic Temple Theater in Detroit, the night of his engagement opening, literally and figuratively.) So when he held shows for Tuesdays and Wednesdays this week at Los Angeles’ new YouTube theater, it was the most he could have fans had. Hardcore simple concern. Will the new hall’s sleek and ultra-modern features and stark branding affect the ambiance? Is the place overwhelmingly white any place for dead leaves and dirty ground?

It’s hard to tell if White picked newer venues for this tour because he decided he was ready to enjoy a higher class of dressing room, or if it was just a coincidence/coincidence. But if there’s any (quite remote) possibility that it can be played in off-assembly places like this one or the climate pledge arena in Seattle because it has some kind of subliminal case to do – it can make any place feel as “classic” as it is – then, The point has been proven and the case ratified. It didn’t take long after the lights went out and the YouTube banners were hidden on the side of the stage so you can imagine you were in…not so much the Maya or the shrine as Fillmore West. Or at least our imaginative version of what it might be like to watch a refreshing but classic guitar-fueled show when T-rexes and Hendrixes were still walking the floor.

Jack White performs on stage at the YouTube Theater on May 31, 2022 in Englewood, California.
Christopher Polk

The third-man collector’s crowd arrived early on Tuesday’s first two YouTube shows for the best shot of the limited-edition nighttime posters becoming collectibles, and there was an almost audible “e” when poster art for this party emerged to be an abstract representation of the Los Angeles highway system. No offense to the painter, but most Angelinos would be reluctant to frame something for their walls to remind them of all the remaining hours of the week they spent in 405. This missed opportunity was pretty much the end of any miscalculations throughout the night, as White led his three-piece squad through a set Its 1 hour and 45 minutes I felt right-handed or worn out, leaving a sense that nothing was left out on stage – even if lists of other stops at touring shows lasted a few songs longer than this big 21. There wasn’t “Seven Nation Army” this very night, panicking a man or two in the men’s room next. , but for the hobbyist who cherished the nature of it not actually including a pre-made list, it was just another sign that the maverick in charge never contacted her. Dynamics and build for a true climax, rakonto rs song “Steady as She Goes” really he is A better appearance is closer, anyway. number?

The group was surprisingly strong on new albums, or at least surprising to anyone who followed the tour’s opening night, when there were only two news songs (and one New Marriage) in total. That’s actually new albums, in the plural: The show featured five songs from “Fear of the Dawn,” the record heavyweight released on April 8, and two sound-guided twins, “Entering Heaven Alive,” which will follow July 22. . With phones hidden in Yondr bags, White’s concerns may include Dawn but do not include the new track “A Tip From Me to You,” which is taking place only a second time, taking off online before the studio version becomes available. Hearing that last number and “Love is Selfish” boosted the two semi-vocal sections of the group that also included lighter or root perennials like “Hotel Yorba,” and raised just how powerful the “Heaven” piece that accompanies “Dawn” two months later (take it from us). But the real thrill of the night—and the first—was the focus of the songs from “Fear of the Dawn,” a fun album of pure rock as we’ve gotten from anyone in years. Even if the entire audience didn’t take advantage of the easy availability of these new riders, their sheer weight didn’t require a high level of familiarity with the crush… And without the sonic oomph that makes the studio versions into a rollercoaster, they’d probably be a little easier listening first here anyway , with White sticking to one guitar sound at a time per song.

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Jack White performs on stage at the YouTube Theater on May 31, 2022 in Englewood, California.
Christopher Polk

In fact, there was number Guitar bass for most of the opening number, the most recent album “Take Me Back,” some kind of technical pick-up left White unable to partake in the barrage of sound in the first two clips, even as he worked one of the ways away trying to hook up several guitars. (In keeping with the aesthetic of the third man, even White’s guitar technique looks like a character from a movie, like a hippie gangster from “Performance” or something… Maybe his only business staff is prone to wearing jackets and ties. So from a path Want to see more of this guy.) Nobody gets thrown into a loop by a forced moment of spontaneity in the performance, Wyatt moved to piano for the middle part of the song—and luckily, that just so happens that guitarist Dominic John Davis and keyboardist Quincy Macri fill in. Already the song “Looking Back” has some mysterious guitar-like sounds as it is. Issues were resolved and White restored a working guitar in time to provide the solo scream that Yamaha’s straight keyboard could not.

And from there, to the races, at the site of the demolished Hollywood Park track. After three “Fear of Dawn” treads, White gave the bulk of life expectancy from the crowd a promise that he would eventually become a hit group with the “Dead Leaves and Dirty Earth” tease of white stripes, then returned to “Fear” with “Hi-De-Ho” “. This isn’t a song from the latest album you’d expect to hear live, as it features a Q-Tip rap, but White played the tape faithfully for this section – the closest he’s ever to a tap-track – while the band performed funk directly. And make no mistake, the biggest difference between White’s recent albums and his previous albums, or definitely the Stripes period, is that the band gets a chance to swing by a good amount, as well as introduce Zep. When you have a world-class drummer like Darrow Jones – a guy who goes from sitting to standing a lot, it’s as if he epitomizes the audience’s own drive to give a standing ovation – you want to give him a pocket to close it now and again, as well as a purposeful crush .

White, as always, was a showman and artist, at times turning away from the microphone to rouse crowds with inaudible tips whose lip-reads could not be guessed, making the cage at the front of the stage when not stepping on the rise of other musicians. He twists his body in a bent position, as if to find some kind of physical manifestation of how distorted his solos are always about to become. Perhaps only once or twice anything on the set sounded like a few pieces of jazz fusion, but White’s lead guitar playing has this mix of subtlety and the suggestion that chaos is just a step away from much of the best jazz. White’s performances and especially his solos deliver a taste of metal without the cheese, and jam band without the actual jamming residue, of garage rocks worthy of a Carnegie Hall garage occurrence. And that’s before folk singing.

We could use six, seven, or twelve eggs to help salvage the rocks from their stagnation, but it’s okay—it should be—that we only have one. Fifty years later ten years later, it’s a conduit for what it felt like to be part of the Woodstock and Bill Graham genre-mixing generation where you can hit rock hard and still feel smart, spontaneous, proficient as well as primal. If his callouts for audiences have a bit of a carnival bark for them, if not a tent evangelist, it’s worth it – he’s right there to show off the greatest rock ‘n’ roll on Earth.

As for YouTube theater, this one deserves its own review, perhaps for another time. But some fans on hand felt preparing the venue, in part for how reminded they were of the scale and scope of the Old World Amphitheater, albeit with a separate balcony much higher. One fundamental difference between this and some of the other rock shows that have been seen there since they opened last year: The seats in front of the stage are removable, and the healthy GA crowd up front makes a huge difference in the energy level when thousands of fixed-seat patrons aren’t sure if they’ll be seated or They stand. At White’s Tuesday show, having the SRO crowd at the front looked like the world runway if I took a portion of the Hollywood Palladium and planted it in front of a Universal audience – a bit of a better setting of both worlds. Between that and a good/loud sound, we can put up with cleanliness.

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