Pearl Jam - 'Live at Benaroya Hall' (BMG)
4/5
By: Kevin Molloy
Twelve years since Pearl Jam's original, unreleased (but highly bootlegged) performance for 'MTV Unplugged', and ten years on from the release of Nirvana's unaccountably influential album from the same series... PJ are hoping that the original magic hasn't faded with their latest offering pertaining to be their 'first-ever full length acoustic performance'.
Comparisons with Nirvana's 'Unplugged...' album will abound, with both bands born from the same scene. But Nirvana never existed to become the bloated rockers they despised, whilst Pearl Jam have always been the shamelessly more radio-friendly, and have lasted out the decade, putting them en-route to becoming dinosaurs. It might be asked then if there's a conscious emulation of that vital Nirvana LP in the opening tracks. Pearl Jam choose 'Of The Girl', Cobain chose 'About A Girl'; as a statement of intent, it could mean great things...
First impressions, however, are less than comforting. Whilst we're looking forward to a complete change in style, Eddie Vedder and co. have decided that such a strategy might prove too risky - and that they'd better take their electric guitars along as well, hence the screaming harmonics of Pearl Jam's highly typical solo knack. This discrepancy aside, the performance still takes a decidedly wobbly start. Vedder's voice takes a good four or five songs to warm up, and the first half of the performance draws upon sketchy recent singles and obscure b-sides.
That said, this rather oblique track-listing is also a highlight. '...Benaroya' acts as the band's own 'best of' compilation. Rather than providing just the greatest hits, the performance includes covers and rarities... and as a charitable show in an unusual acoustic environment, the band are allowed to play exactly what the f**k they want.
This certainly leaves space for a humour we are rarely treated to in Pearl Jam's self-acclaimed position as voice of a generation. A spectacular rendition of 'Lukin' comes mid-set, bringing in two minutes worth of acoustic thrashing and vocal tearing force. That humour: guitarist Gossard's deadpan introduction, crediting acoustic performances with lyrical clarity and depth. It's good to see a human, self-mocking side to these people - God knows they've spent long enough being 'heavy' in all too many senses.
The shadow that has lifted clears further with the onset of the covers. A reeling countrified cascade through Cash's '25 Minutes To Go', Vedder's baritone bringing the dark wit out in oily reams. Dylan's 'Masters Of War' comes in for an airing and provides a highpoint towards end of the night. Whilst it clearly demonstrates what lacks in Pearl Jam's own songwriting, their own unique musical style (i.e. much potent influence upon the instrument, coupled with Zeppelin-style indulgence) informs the song to rabble-raising effect with but two acoustic axes. The covers continue through The Ramones' 'I Believe In Miracles' and a masterful reworking of Victoria Williams' 'Crazy Mary'. The latter covers in the set truly start to show influence of the American jam bands, similarities all evening have been noted with such exemplars as the Grateful Dead, or even more modern proponents such as Dave Matthews Band; 'Crazy Mary' is covered by both, and the organ solo continues for a good few minutes in its own contained noodlings before giving way to yet another prolonged ending.
And despite a 24-track set, the hits still remain curiously absent. 'Black' is refreshingly jazzy and relaxed compared to it's counterpart of Pearl Jam's seminal work, 'Ten', but the audience's relief is palpable as they readily join in chanting the refrain over the wailing guitars with something they actually know. But this still isn't the sound they expect. The songs shimmer in their acoustic revelations, and the trembling bass of Vedder's voice resounds much more deeply over the sparser surroundings.
The end result is one of the most open-hearted affairs they could have hoped to produce. A band that releases every single live show they ever play must have thought this performance special for it to merit a 'true' release. Its unique quality in a vast back catalogue is the unswerving demonstration of a much more illustrious side to the pearl than the murky jam of electric live shows and over-produced albums. Not just for the collectors, then... but in fact a renewal of relevance, and a fine entry point for the uninitiated.
Artists in this article: Pearl Jam
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