Septeto Santiaguero
Isthmus music writers chose one favorite
Meat Wave, Frequency, Feb. 10
Meat Wave is one of the rawest, tightest, gnarliest punk acts going these days, and the perfect abrasive to scrape the angry out of your soul. Opening the night was Twelves, one of Madison’s most promising bands, and Absolutely Not, which somehow combines elements of the B-52’s and the Blood Brothers into something equally wild and exuberant. (Lawrence Gann)
The Zombies, Barrymore Theatre, April 15
When I heard The Zombies were on tour performing the entire Odessey and Oracle album for the final time, I knew it was a must-see. Hearing the original members hit the harmonies in “Care of Cell 44” like it was 1967 again was something I will never forget, and easily the most emotional moment I’ve had sitting in a concert audience in ages. (Bob Koch)
Half-Stack Sessions Spring Show, Wil-Mar Center, May 13
I loved this show not only because it introduced me to two excellent new bands — Fox Face, a witchy punk act from Milwaukee, and 4th Curtis, a wildly talented, all-trans indiepop band from Minneapolis — but because it was organized by a badass new creative collective, Half-Stack, whose goal is promoting female and gender-nonconforming musicians. The event also featured a gorgeous fashion show from Good Style, a fundraiser for Domestic Abuse Intervention Services, plus performances from local standouts Miyha and Jonesies (RIP). Oh, and a dope bake sale. There’s a new game in town, and Madison’s DIY music scene is better for it. (Allison Geyer)
Susto, The Frequency, June 20
A friend had spent the first few months of the year singing Susto’s praises, but I didn’t end up checking them out until tagging along to their show at The Frequency. The Charleston, South Carolina-bred fivesome blew me away with their musically laid back but lyrically dense folk rock. Susto is the type of band you’d want playing your beach bonfire, or soundtracking a day spent tubing down a rural creek. They ended up playing most of their catalogue that night (two albums’ worth), which is the best crash course I could have asked for. Now a full-fledged fanboy, I saw them again in November at the High Noon Saloon, where I was able to sing along to (almost) every word, save for a few new tracks from the recently released deluxe edition of their 2017 album & I’m Fine Today. I’m sure that will change by the next time they roll around. (Tom Whitcomb)
Joe Jackson, Overture-Capitol Theater, June 21
Lights drop, a follow spot tracks an older, baldish guy in a tailored suit as he makes his way to a double keyboard stack. Hesitant applause. “Sorry, but I’m your opening act tonight, too,” Joe Jackson cracks as he settles in and plays an acoustic set reaching back to early 1980s. Suddenly, his band appears from the shadows and cranks into “Is She Really Going Out With Him?” leading into a two-hour parade of jazz, blues, reggae, swing and rock. Then, they slip away and it’s Joe alone. Hitting the opening chords to “Slow Song,” the audience responds enthusiastically with a standing O. And 15 minutes later he waves bye as the stage lights fade. (Tom Kobinsky)
Palm, The Frequency, July 7
If rock survives the 21st century it will sound like Palm. Their synthesis of hyper-technical math-rock and Beach Boys-esque vocal harmonies seems like what a passionate android would write. It’s difficult to believe this is human, analog music, out of Philadelphia, and not a space station. To see Palm live is to watch four 20-somethings focusing intently on their craft, transcending earthly bodies to become elegant machines. The band opened with “Walkie Talkie,” their hardest hitting jam, and followed up with the beautiful “Untitled,” starting with a peak of energy from which they gently floated the audience down. (Reid Kurkewicz)
Mydy Rabycad
Mydy Rabycad, La Fete de Marquette, July 15-16
This year’s neighborhood festival was packed with jazz and funk all-stars, but my favorite act was the glimmering electro-poppers of Mydy Rabycan, a group from the Czech Republic whose only U.S. tour stop was here. Mesmerizing frontwoman Žofie Dařbujánová and her bouncy young bandmates held the crowd rapt for a Saturday mainstage performance and a sweaty encore in the electronic tent on Sunday. Afterward, I rushed back to the main stage to catch the last few songs from funky-as-hell Red Baraat, an eight-piece Bhangra band that finished off the weekend with a bacchanalian bang. (Catherine Capellaro)
Septeto Santiaguero, North Street Cabaret and Central Park Sessions, Aug. 8 and 10
The wild audience response to the seven-piece Cuban band Septeto Santiaguero’s Central Park session showcased all the joy that the Madison community can offer. It was also a testament to the extraordinary value being delivered by world music aficionado and booker extraordinaire Bob Queen. He’s the guy responsible for bringing world-class musicians from every corner of the globe to Madison. Keep on bookin’, Bob. (Kiel Majewski)
Jason Isbell and The 400 Unit, Breese Stevens Field, Sept. 3
I walked out halfway through Jason Isbell’s Barrymore Theatre show in 2014. It wasn’t bad; it was perfect. And lifeless. The exact opposite of Isbell’s performance at Breese Stevens Field. Half of the show drew from the potent new album, The Nashville Sound, including a roughed-up version of the post-Charlottesville anthem: “White Man’s World.” The audience clustered onto the astroturf, abandoning the bleachers to get closer to the fire. When Isbell and wife Amanda Shires professed devotion to one another in “If We Were Vampires,” the stadium became so still you could hear the whoosh of the city bus going by. There were some Drive-By Truckers’ gems for the old-school fans: “Decoration Day” and the show’s closer, the defiant “Never Gonna Change.” September had arrived, but rock ‘n’ roll held on to summer for one more night. (Andy Moore)
Foo Fighters
Foo Fighters, November, Kohl Center, Nov. 7
We’ve all experienced shows where the artists plodded through a 90-minute set like they were late to a better party, or where a musician made a 30-minute opener feel like the best part of the night. This show was a value-added buffet that just kept on giving — and then giving some more. Dave Grohl and company rocked the Kohl Center for a whopping three hours, turning what could easily have been a straight-up push to pimp Concrete and Gold, the Foos’ solid-but-not-transformative ninth album, into an energetic, deep dive into the band’s back catalogue. This show felt honest, real and worth every second. (Aaron R. Conklin)
Kamasi Washington
Kamasi Washington, Majestic Theatre, Nov. 8
A jazz artist sells out Madison’s busiest college music showcase? Hard to believe. But tenor sax colossus Kamasi Washington is an artist afire. Bonaroo. Pitchfork. Coachella. Glastonbury. His three-CD first album — The Epic — is a breathtaking tour of jazz classicism with up-to-the-moment resonance. Expectations were huge for his Madison debut. And they were met. Washington’s stripped-down band of seven blew out the walls. I’ve never seen fervor like this before in Madison: A mostly young audience leaning into a ferocious set of jazz, cheering wildly for an imposing kimono-clad genius. (Marc Eisen)
Kansas, Capitol Theater, Nov. 17
Who says old guys can’t rock? In the middle of an opening five-song acoustic set, bassist Billy Greer promised Kansas would “blow your face off over the next two hours.” And that’s exactly what these guys did, playing a 24-song set with no intermission. Featuring two original members, two longtime members and three newcomers (including lead vocalist Ronnie Platt), Kansas, a progressive rock band that’s been around since 1973, played the best songs from 2016’s The Prelude Implicit and added new flourishes to old songs. The centerpiece of the show was a front-to-back performance of 1976’s Leftoverture, featuring “Carry On Wayward Son.” After 44 years, Kansas is carrying on in the best possible way. (Michael J. Popke)
