"Wow"! Beck thrills capacity crowd at Ford Theatres

Performing at Ford Theatres is, from left, a new member of
Beck's touring band, Beck, and keyboardist Roger Manning Jr.
Photo: Kim Kinsler 

Beck
Where: John Anson Ford Theatres, Hollywood, CA
When: Wednesday, Oct. 18, 2017
Next: Beck will perform as part of the iHeartRadio ALTer Ego concert on Jan. 19, 2018 at the Forum in Inglewood. Also on that bill are Mumford & Sons, Spoon, Cage the Elephant and the National


Beck performed his first hometown performance since releasing his new album Colors at the John Anson Ford Theatres last night, delivering an entertaining and wide-ranging concert confirming the singer-songwriter/multi-instrumentalist remains one of the most talented artists making music anywhere on the planet.

Since its release on October 13, Colors has been universally praised and for good reason. The album is a mostly-upbeat and intoxicating '80s-flavored masterwork filled with songs that inspire dance moves even as they dazzle with creative and compelling arrangements. Announced just last week, the Ford Theatres concert drew an enthusiastic crowd of 1,200 who packed into the beautiful outdoor amphitheater to catch up on Beck in the wake of the release of his first new studio album since 2014's Americana-minded Morning Phase (that brilliant album earned Album of the Year honors at the Grammy Awards on February 8, 2015).

Beck and his band performing on October 18, 2017.
Photo: Robert Kinsler

Over the course of 105 minutes on Wednesday night, the genre-hopping artist focused on material from throughout his 25-year career including a four-song set of new material from Colors in celebration of the release of that disc that was performed near the end of the show. The title track from the new disc was one of the genuine delights of the night. This marked only the second time Beck and company had ever played "Colors" in concert; that song proved to be a sonically-rich offering with its nuanced layers coming fully to life via the musicians' performance. "Up All Night," another infectious cut, received its third-ever concert performance and had everyone on their feet and moving to the song's dance discipline.

In fact, from the opening selections of his performance (the grooving "Devil's Haircut" and equally dynamic "Black Tambourine") to the super cool '80s synth pop "I Think I'm In Love" / ""I Feel Love" (the latter a hit for Donna Summer) and funky "The New Pollution," Beck seemed inspired to keep the crowd on their feet and having a great time.

"I'm very thankful for this beautiful night," Beck said, clearly delighted with the spirit of this special gig attended by many of the artist's family members and friends.

Jason Falkner performing at Ford Theatres.
Photo: Kim Kinsler

Other alt rock and dance-styled Beck classics followed, including "Mixed Bizness," "Qué Onda Güero," thrilling '70s retro vibe of "Go It Alone" and the heavy-guitar anchored "Soul of a Man" (featuring the fretwork of lead guitarist Jason Falkner) before Beck's Laurel Canyon-minded influences shone via the folk stylings of "Paper Tiger" and "Lost Cause."

The fact that Beck performed dance material, alternative rock, folk ("fingerpicking songs"), blues and more was impressive to be sure. While the performance of his hit "Loser" was obviously a favorite and had everyone moving and singing, an extended "Where It's At" that served as a point to provide introductions to his band members was also extremely moving and fun. In the gives-me-chills column was a potent tribute to the late Tom Petty via guitarist Falkner leading the band through "American Girl"; moments later, the audience  was surprised (and impressed) via keyboardist Roger Manning Jr. delivering up a fantastic imitation of Michael McDonald's "Takin' It To The Streets."

The encore also featured Beck performing the decidedly bluesy "One Foot in the Grave" where his rapid-fire vocals and impressive blues harmonica work were played over the sparse accompaniment of a bass drum. A soulful "Debra" with sweet falsetto vocals and joyful refrain of "Where It's At" (often recognized by the title "Two Turntables and a Microphone") closed things out of a high-impact and memorable close.

Review by Robert Kinsler