RNC: Amid Chaos, a Peaceable Concert


| 9/5/2008 9:12:23 AM


Tags: Arts, music, Provention, RNC, Republican National Convention, concerts,

Provention Haley BonarStepping into the Provention concert on Tuesday night at the Fitzgerald Theater in St. Paul, Minnesota, was literally a breath of fresh air. Clouds of dissipated tear gas hovered in the cool evening outside, and a din of antiwar chants, shouts, sirens, and police helicopters echoed through the downtown canyons as I arrived late, delayed by an encounter with several thousand riot police and protesters. Going through the lobby was like disappearing through the looking glass, and soon I found myself settled in a soft velvet chair, fully ensconced in the music of singer-songwriter Haley Bonar, the sound of conflict swept out of my mind by her acoustic guitar and plaintive voice. No longer in danger of being arrested, I was now being serenaded

While other RNC-related protest concerts this week Raged Against the Machine, staged a Coup, and hoisted the Anti-Flag, Provention was a more thoughtful and less in-your-face affair, meant not so much to fight the power as to create a sense of kinship amid chaos. Joe Spencer, the arts and cultural liaison for St. Paul Mayor Chris Coleman who was instrumental in organizing the concert, said as much from the stage in between sets.

“I’m scared by the guys with the face shields,” he said, referring to the riot police, “and I’m scared by people who are picking up bricks from hundred-year-old buildings and throwing them through windows. So I’m conflicted, and when I feel conflicted I long for a strong sense of community.” Musician John Munson, who originally came up with the Provention idea, called the event “a tent of togetherness.”

Bonar, like most of the performers who followed her, chose songs that hewed roughly to the politely political theme. Introducing “Nobody’s Safe,” she noted that she marched in Monday’s antiwar protest but decried the rabble rousers who took things too far. Her reflective, folky songs were disarmingly honest, and when she said, “St. Paul is a great city,” it didn’t sound like an RNC welcoming slogan but a heartfelt sentiment. (Before I arrived, several acts, including Maria Isa, the New Standards, and Jeremy Messersmith, had already played.)

Next up were the Warblers, the duo of Chris Osgood and Dave Ahl, former members of Twin Cities proto-punks the Suicide Commandos, dressed like dude ranch guests and harmonizing on topical old-time ditties like “Everybody’s Going for the Money” and “Wild in the Streets.” All night long, novelty-style acts like this filled the between-set slots, giving the concert the air of a variety show.

The Warblers were followed by another harmonizing duo, the Twilight Hours, composed of Matt Wilson and John Munson, who played sweet and passionate modern pop that occasionally entered the rock and roll zone, as on Wilson’s sweeping “Descender.” Both former members of beloved Twin Cities band Trip Shakespeare, they still have a strong musical kinship and well-matched voices, with Munson holding down the low end and Wilson holding up the high with his still-boyish timbre. Their opening song, “These Dreams Are Killing Me,” and the Big Star classic “Ballad of El Goodo” were especially delectable. They were joined for a while by Matt’s brother, Dan Wilson, also a former Trip Shakespearean as well as a more recent bandmate of Munson in Semisonic.

jake mohan
9/11/2008 3:26:40 PM

I'm bummed I missed this show; I'm a fan of nearly all the performers, especially Dan Wilson and Haley Bonar. Wilson showed up at the end of the Lizz Winstead show I attended later that week; he's always such a friendly, refreshing presence. http://www.utne.com/2008-09-10/Media/Lizz-Winsteads-Wake-Up-World-Rouses-Minneapolis.aspx?blogid=34