![]() The embrace was even tighter: there was no room for worldly concerns. The atmosphere was different: their music took over the entire space. We were all sitting on some foldable chairs, facing the low, small stage in the middle of the room. Lisa Iwanycki-Moore’ quiet harp helps amalgamate the sounds together, as Brad Barr sings: “ but what does that prove? / Sometimes I worry I don’t know how to love you.”ĭuring this song, I remembered seeing the Barr Brothers live once before in a small venue in Birmingham, England. Now, a magic trick: Brad Barr takes a string of fabric and pulls it in between the guitar strings while changing chords with his left hand, capo on the fourth fret the sound, fragmented yet elegant, introduces their second track, “ Even the Darkness Has Arms.” The pedal steel guitar once again provides the backing sounds which ensure the permanence of the venue in a realm separated from reality we are maybe in a desert, maybe on a cloud. Morgan Moore’s double bass and Andrew Barr’s drums were in conversation, and, with the impressive acoustics of the UC Theatre, the sound travelled through the ground, walls, and ceiling, embracing the audience from every side. They opened with “Look Before it Changes ” with Brad Barr at the front, sporting a Brian Eno t-shirt, bandana on his head and ukulele in hand, alternating between playing the harmonica and singing. Brett Lanier’s mystical sounds on the pedal steel guitar filled the room, transporting everyone to a land of dreams. The Barr Brothers discreetly took the stage, picked up the instruments and, without a word, began to play. But there was nothing to complain about: with the stage just a few steps away, and with no heads to cover the view, it felt like an intimate concert for a group of friends. On the parterre area, only a small, disjointed crowd of eager, standing people could be found. “I’m the lucky recipient of a life in which for hundreds of times, day after day, I get to spend an hour that is like speaking a language only two people know and doing it in a space with others who want to hear it.”įoobar2000 1.3.9 / Dynamic Range Meter 1.1.1Īnalyzed: The Milk Carton Kids / All The Things That I Did and All The Things That I Didn't DoĭR8 -0.35 dB -11.02 dB 3:05 01-Just Look At Us NowĭR8 -0.35 dB -10.38 dB 2:44 02-Nothing Is RealĭR8 -0.34 dB -10.45 dB 3:50 03-Younger YearsĭR7 -0.35 dB -10.40 dB 3:04 04-Mourning In AmericaĭR9 -0.35 dB -12.22 dB 2:25 05-You Break My HeartĭR8 -0.34 dB -11.99 dB 10:23 07-One More For The RoadĭR10 -0.34 dB -12.80 dB 3:20 09-A Sea Of RosesĭR10 -0.33 dB -13.70 dB 4:19 10-Unwinnable WarĭR9 -0.35 dB -12.24 dB 3:46 11-I've Been Loving YouĭR9 -0.34 dB -13.On Monday night, for The Barr Brothers‘ first ever performance in the East Bay, and for the grand return of The Milk Carton Kids to Berkeley since their Greek Theatre show in 2016, every tier of the UC Theatre was covered in chairs: most of the audience seemed to have decided to sit down for this live show. “There are only so many things you can do alone that al- low you to transcend your sense of self for even a short period,” Pattengale says. “And things start to obscure what is the melody and what is the supporting part.” A third presence rises out of their combined voices. “It was liberating to know we didn’t have to be able to carry every song with just our two guitars.” “Sometimes in singing, we’ll switch parts for a beat or a bar or a note,” Ryan says. There arose some sort of need for change.” “Musically we knew we were going to make the record with a big- ger sonic palette,” says Ryan. “We had been going around the country yet another time to do the duo show, going to the places we’d been before. ![]() “We wanted to do something new,” Pattengale says. The new project marks the first time that acoustic duo Joey Ryan and Kenneth Pat- tengale have brought a band into studio with them. The Milk Carton Kids’ fifth album, All the Things That I Did and All the Things That I Didn’t Do arrives from ANTI- Records on June 29.
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