Concert Review by



Saturday, February 22, 2003

Donning a Mellow Hat: Jars of Clay

University of Wisconsin-Eau Claire
Zorn Arena, Eau Claire, Wisconsin
by Greg Adams

Anyone who has ever taken a long bus trip can empathize with bands battling road weariness. This side effect of touring tends to come to the surface in smaller, out-of-the-way cities and venues, so it was not surprising that when Jars of Clay, with supporters Caedmon’s Call and Randall Goodgame, walked on the stage in Zorn Arena on the University of Wisconsin-Eau Claire campus, faced the packed seats and bleachers and apologized for seeming a little "off." The band’s low energy from the “what city is this again?” syndrome coupled with the pared-down, acoustic nature of their current tour could have spelled a major letdown for the approximately 2,000 hearty Wisconsinites who braved the cold to see the band; however, the show was still a fantastic, intimate time with Jars of Clay.

Opener Randall Goodgame, who has penned several songs for Caedmon’s Call, started off with his solo performance. The crowd was incredibly receptive and gave Goodgame the respect and admiration he deserves. His “storyteller” style and Don McLean (“American Pie”) vocals eased the concert goers into a night of acoustic bliss.

Caedmon’s Call--seven members strong--overtook the stage and made their soundman earn his salary. The huge stacks of speakers (which seemed entirely too powerful for the venue) showed their might. Not until mid-set did the sound even out, and that’s when Caedmon’s Call offered their best songs of the night, including a fine cover of The Beatles’ “We Can Work It Out” and the incredible “God of Wonders.” The latter was one of the highest points of the evening: the crowd unified in one voice and one Spirit. Caedmon’s Call ended their set with an amazing Paul-Simon-percussion-driven rendition of “Hands of the Potter” from their latest album, Back Home.

“We snuck up on you,” Jars’ lead singer Dan Haseltine said as the band quietly took the stage and sat on their stools after intermission. The sparse stage--set with only candle lanterns and two couches holding a few lucky fans--enhanced the very coffeehouse mood for the show. After finishing their opening song, “Like A Child,” Haseltine held aloft a hat, explaining that the band had decided to “let The Hat decide” what they were going to play. An eager fan from the front row stood and reached into the hat and grabbed a slip of paper. Haseltine announced the number, and the band began, “I Need You.” The nearly overwhelming bigness of Caedmon’s Call’s wall of sound was in stark contrast to the controlled, intricate, bare sound of Jars of Clay “unplugged.” The upright bass and upright piano (back-breakers for the roadies, no doubt) painted the familiar acoustic melodies with a warmness that replicated the “sitting in the studio with the band” feel of Furthermore’s first disc. Not an easy sound or mood for a band to achieve in an environment as impersonal and cold as a sports arena.

“The Hat” was in a mellow mood, Haseltine commented after reading a handful of song picks, but that seemed to suit the band and the crowd. The reflective mood helped bring out soul-searching versions of “The Valley Song,” “This Road,” “Love Song For A Savior” and “Frail,” among many others. Up-tempo crowd favorites like “Revolution,” “I’m Alright,” and, of course, “Flood” energized the audience and allowed the band to have some fun.

The crowd coaxed the band back for two encores, and Jars of Clay responded with more introspective songs. The road is full of highs and lows, but it’s a rare band that can capitalize on the lows to draw the crowd even closer as Jars of Clay did on a frozen February evening in northwest Wisconsin.