The Noise (Boston) – Concert Review

CHANDLER TRAVIS PHILHARMONIC, TRIPPING LILY
Johnny D’s, Somerville, MA
11/19/09

by T Max

Tripping Lily is an attractive four-piece acoustic folk group without a trace of jaded attitude. The Becrelis brothers, Demetrius and Alex, supply guitar, uke, mandolin, and vocals; Laird Boles moves the bottom around with his double bass, and the pretty Monica Rizzio adds charm, vocals, violin, and uke. The band sings lovely together—soft cool melodies and harmonies. The musical accompaniment is gentle. The band enjoys watching movies and sometimes writes songs during TV commercials. “I’m Sorry,” in melody, harmony, and arrangement, reminds me of the Roches in their serious mode. The band, using the gather-round-one-mic performance method is easy on the ears. Their songs have a fresh quality with unexpected rhythmic and melodic turns to keep me paying attention. They end with “Little Black Dress,” a bluegrass hopper with the intent to leave the audience on a high note, but their gentle songs come across stronger. They join arms and take a Beatlesque bow.

Time for the Chandler Travis Philharmonic—and I know to expect musical tomfoolery packaged in pajama robes and funny headwear. Chandler takes the stage in a white suit (!) and a tall grey hat. The scruffy bearded performer gently sings what could be a new Randy Newman tune (it’s not). He plays his guitar ever so easy, with keys and double bass sticking right with him. With each passing song, more musicians advance on the stage until the Philharmonic totals eight. These guys, who look like the tripping homeless, know how to play without stepping on Chandler’s gentle touch—a feat a lot tougher than they allow you to perceive. Chandler claims to be apolitical but uses Obama’s name in a song, because “it’s a good-sounding name.” “Ticky Don’t Do That” bounces with the catchiest of melodies. The three-piece horn section (the June Trailer Dancers) is especially amusing with each player acting out his own theatrical minor masterpiece. Ah, let’s not forget drummer Rikki Bates—now she may be the most curious character with a constant crazed smile that glares right through her drum set. Chandler changes into his more customary pajama robe (with aid from his singing valet) and does a little magical miming on the dance floor with his wizard’s wand. Then he changes to a gold glitter jacket with complimentary Egyptian gladiator Viking tribal headwear (I think he later told me it was an Hawaiian wedding crown)—it’s as if a little acid was slipped into Johnny D’s water tonight—mind you the band’s sound reflects these images at times. But to give the music a little more reasonable explanation—take one-half Randy Newman, one-quarter Ray Davies, one-quarter George Carlin and mix them into the Mardi Gras. But would that make you think of a solemn rendition of “Bring Back My Bonnie to Me”? There’s a lot of contradiction going on and a massive amount of variety. Chandler ends with “Good Bye,” allowing us to reflect on the strange mix of the whole evening. Oh wait, it’s not over—time to feature the keys in a rousing Broadway-type show stopper—and then another—one of my favorites—“How Do You Keep Your Hair So Fluffy?” that may sound as if Chandler is complimenting his wife—but it’s a song about his dog. Woo—two and a half hours just slipped by and it felt like a half-hour set—how many bands do you know that could pull that off? (T Max)

original online version

The Noise (Boston) – Concert Review