Lynn Kalber Lynn Kalber wasn’t born in Boca Raton, but she attended elementary through high school there, so she might as well have been. She’s a graduate of the University of Florida and has been in journalism most of her life, including 26 years at The Palm Beach Post. She’s written feature and food stories, […]
SunFest 2017 is officially here! Downtown West Palm Beach is closed off to traffic so that ticket holders can leisurely peruse the vendor stations, lounges, and of course, listen to live music.
On Wednesday night, Weezer headlined SunFest on the Ford Stage off Clematis Street. Paying homage to Los Angeles roots, the show started with a tape recording of Weezer’s “California Kids” playing through the speakers on a dark stage.
When the colored lights came on and the huge “W” emblem glittered onstage, lead vocalist and guitarist Rivers Cuomo was front and center in a bright orange bomber jacket, his signature black hipster glasses and his trademark green electric guitar covered in stickers.
The show’s unofficial theme comprised their greatest hits from “The Green Album,” and “The Blue Album,” with favorites from “Pinkerton,” “The Red Album” and “The White Album” thrown in for good measure. The set was a dichotomy: upbeat alternative rock melodies, lengthy guitar solos and speakers so loud they reverberated in your chest followed by mellow, indie beats and comical lyrics.
Weezer opened their 13-song set list with “Hash Pipe,” then launched swiftly into “My Name is Jonas.” After “(If You’re Wondering If I Want You To) I Want You To,” fans rejoiced at the opening notes of “Pork and Beans.”
The crowd was enthusiastic throughout the show, with a notable trend of parents and their kids spanning the landscape. Fans whooped and clapped excitedly to the opening strains of “Beverly Hills,” and Cuomo appeared on stage wearing a sombrero. The tempo felt a bit quicker than the recorded version, but fans managed to sing along without any trouble.
Next, there was a smooth transition into “Dope Nose/Back to the Shack/Keep Fishin’/The Good Life/Surf Wax America.” Cuomo and his band mates Patrick Wilson (drums, backup vocals), Brian Bell (rhythm guitar, keyboard, backup vocals) and Scott Shriner (bass, backup vocals) took turns showcasing their musical talents, with drum solos, bass and electric solos and unexpected melody and tempo changes.
The mood slowed with “Island in the Sun,” only to pick up again with “King of the World.” Cuomo made another costume appearance with a gold plastic crown and red cape decorated in white fur bearing the “W” from the Weezer logo. The show closed with the slightly angsty, ever popular, “Say It Ain’t So,” and the stage went dark.
But no Weezer concert is complete without “El Scorcho” and “Buddy Holly.” After playing these two songs for the encore, Weezer thanked the crowd, made “W” signs with their hands, and left the stage. Find the complete set list here.
The Symphonia Boca Raton is back in session for its 2017 Connoisseur Concert series. The world-class chamber orchestra performed its second show at Roberts Theater in Boca on Sunday led by guest conductor Brett Karlin. He is the artistic director and conductor of the Master Chorale of South Florida.
Entitled “Baroque Brilliance,” the concert truly lived up to its name. Sunday’s concert took audiences on a listening tour of 18th century music, beginning with German/British composer George Frideric Handel.
A light, playful mood was evident during the first half of the concert. Most of the pieces offered happy, energetic notes, which kept toes tapping. Melodies were often carried from one instrument, such as the violins, to the oboe, the bassoon or the French horn.
Trumpet soloist Jeffery Kaye and vocal soprano soloist Sherezade Panthaki were harmonious throughout the entire performance. Panthaki revealed her wide vocal range and Kaye often imitated her song on trumpet. Their natural musical talents, combined with technical skill and interpretation, made Handel’s “Water Music Suite No. 2 in D Major” and a troika of arias (three movements) come alive on stage.
After a brief intermission, three additional pieces were played. Italian composer Antonio Vivaldi’s “Alma oppressa da sorte crudele” was followed by a French-style Baroque work, which translated to “The Egyptian,” but wasn’t listed in the original program. Both scores were a bit slower and heavier, which allowed the audience to spend time in thoughtful reflection.
The final arrangement was a selection from Johann Sebastian Bach called “Jauchzet Gott in allen Landen.” It was organized into five movements, the first and last being most joyful. Panthaki and the violins offered a slightly mournful tone during the middle movements, which offered another opportunity for silent reflection.
Most in the audience were on their feet at the end of the performance. Jeffery Kaye led a champagne toast after the concert.