Beck Hansen is one of the most talented men alive. Period.
Hansen, better known to fans around the world simply by his
first name Beck, played at the Universal Amphitheater Monday night
with the Flaming Lips. This lineup assaulted the audience (in a
really good way).
The Flaming Lips is no regular opening act. The band certainly
hasn’t had the mainstream success of Beck, but it’s one
of the biggest college rock radio bands in the country and Wayne
Coyne and company know how to put on a show.
When the opening act fills all the seats in a venue as big as
Universal, you know you’re in for it, and the Flaming Lips
didn’t disappoint. The band played fully equipped with
confetti, a posse of people dressed as stuffed animals, a wild
light and video show, and more confetti.
The band put on a Vegas-worthy show, while acid-rocking through
some of its best songs including the current single “Do You
Realize.” Coyne’s signature move was pumping his fist
in the air and waving the audience up for more noise and clapping.
Odd from a nearing middle-aged white guy with graying hair and
goatee? Yes. Appropriate for the surreal show? Yes.
After a short break, Beck came out (as Coyne had made sure to
tell the audience he would) and opened with a solo acoustic set.
Comprised mostly of songs from the new album on acoustic guitar,
which were mellow and nice, the real highlights were two older
numbers. Beck broke out a harmonium (he said he was just learning
to play) for a gorgeous version of “Nobody’s Fault But
My Own.” Delving way back into his catalogue, Beck performed
a fast foot-tapping “One Foot in the Grave” on the
harmonica.
Soon enough, the Flaming Lips took residency behind Beck on
stage and the energy hit another level. Coyne flashed hand held
lights on Beck throughout the show, and as a backing band, the
Flaming Lips injected Beck’s tunes with a psychedelic
vitality.
The material off of “Sea Change,” Beck’s
newest album, inspired the audience to sit back and listen to the
rich tones Beck laid down with his strong vocal performance. The
best of the “Change” material was a sped- up version of
“Lost Cause.”
The songs from Beck’s other albums had the audience
standing up ““ and Beck dancing around. Not only did
Beck’s voice stand up incredibly well, his guitar playing
looked effortless, his harmonica, harmonium and keyboards work was
all great, and the man can dance, dance, dance. From the robot to
the splits to slippery groove moves, Beck jammed through his hits.
He played “Loser,” “Where It’s At,”
and “Devil’s Haircut.” He also played lesser hits
but equally compelling songs “Cold Brains,”
“Tropicalia,” and “Nicotine and Gravy,” all
of which resulted in intense auditory pleasure.
The only thing that could have used a bit of work was Coyne and
Beck’s not-so-witty banter.
Beck’s oh-so-witty lyrics and musical skill more than made
up for it.