By: David de Young
 The Beatifics at the Uptown - Photo by David de Young (Click for full-size version.) |
Members: Chris Dorn - guitar/vocals Website: http://www.busstoplabel.com/beatifics.htm
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One dictionary definition of beatific is "showing or producing exalted joy or blessedness," and it's a fitting description for the group comprised of Chris Dorn on guitar and vocals, Erik Kassel on guitar, Sean Hoffman on drums, and Heath Henjum on bass. In the interest of full disclosure, I must admit right off that the Beatifics are--and have been for some time--not only one of my favorite bands in the Twin Cities, but in the entire Midwest. That being said, forgive me as I gush about them for a few hundred words.
Spring is a time for breaking down blockages. After seeing about half a dozen Beatifics shows over the past year and meaning to do a write-up for months I've finally gotten around to sharing with the world just how great I think this band is. From a fun and informal show at Roadrunner records in the fall, to an awesome show at Mario's Keller Bar in January on a brilliant bill with Viovoom (with whom the band shares drummer Hoffman and guitar player Erik Kassel) my Beatifics experiences have been not just above par, but musical events that help me re-affirm not only why I go to shows, but why I spend a dozen hours or more each week writing about these shows for whomever chooses to read my humble words on this website.
Since I've already started to rave, you might ask why I think the Beatifics are so damn good? Well, lets start with the song-crafting. Shortly after "The Way We Never Were" was released last year, I remarked to a friend, "I'm not sure Chris Dorn realizes just how good these songs really are!" Dorn is unquestionably writing some of the best pop music this town has seen in some time, and what's more he seems to do it effortlessly. These are some of the best songs about near-misses that I've ever heard. (If Dorn were to open a school of song-writing, the first two people I'd sign up to send there would be Noel and Liam Gallagher, since judging by their latest efforts they could sure use a refresher course.)
And why are the Beatifics also a great live band? Because that same effortlessness present in the song-writing comes through in their live performances as well. This band is tight knit and works together wonderfully with no one member ever upstaging another. These are some of the best musicians in town, and it's almost as if they were born to play in this band.
Friday's show opened with the short and terribly sweet "Sorry Yesterdays" with brilliant backing vocals by 2nd guitar player Erik Kassel. Dorn acknowledged this was the first time the four musicians had been on a stage together in a few months (since the Mario's show actually as various members have been relentlessly busy with other projects.) Through the bouncy "This Year's Jessica" with the bitter yet touching lyric "you never had me anyway," the Beatifics caught their stride early by the third song, "Between the Lines." Most of the Beatifics songs are concise, with a kind of condensed hit 'em hard and then run approach.
In addition to being consummate players, the Beatifics also know how to have fun. You can't help but enjoy yourself watching them. And the fun I mean is by no means dumb fun. This is the critical sort of fun that you've must allow yourself in order to get by in a world as messed up as this one is right now. (Read that as I'm finding it hard to forget that sadly there was no cease-fire in GWII during the Beatifics set.)
Kassel broke into a bit of "Sweet Home Alabama" between songs, and for a moment I thought they would do the whole song. In my excitement I bumped a female fan up front and nearly spilled her drink. (It'd been a clumsy day for me even before I started drinking.) Through the sweet and touching "The Only One" a song that can almost be described by one of its lyrics as "exactly like the kind of dream that never lets you back to sleep" and into my all time favorite "When it's Whenever," the Beatifics played one brilliant song after another and there was an almost zen-like energy up front only part of which was coming from the stage--either that or I was beginning to feel the effects of a bottle of Chardonnay and half a dozen Windsor Diet Cokes.
On this night drummer Sean Hoffman was sporting what appeared to be a new haircut and was looking even more adorable than normal. Bassist Heath Henjum played a good portion of the show partially obscured in a cloud of smoke from the fog machine. Perhaps the set's only moment of awkwardness came at the beginning of "Those Kids," from 1996's "How I Learned to Stop Worrying."
Oddly perhaps, a set highlight was the Beatifics super slow cover of The Clique's 1969 hit "Superman." There's something about this song that gets more powerful the slower it's played. (Not to insult REM's version, which is good, and did help to resurrect the song from the archives of pop history. But I think the first time you hear the Beatifics' version you'll agree it's just plain better.)
The set went by too quickly, the result of the entire set being as free from filler as Dorn's songs. Then at 12:58 a.m. Hoffman's wild drumming signalled the start of their final song, "Almost Something There" also from Dorn's 1996 release. The lights came on spot at 1 a.m. reminding us that we weren't actually in heaven, but in the Uptown bar, in Minneapolis with its notoriously early bar time.
Looking for a great band to take a date to? These guys are at the top of the list. In any case, at least drag somebody with you so you'll have someone to talk to later about what a great time you had. The memory of these shows will stick with you for days, weeks and months. If you're looking for some of the best pop in the Twin Cities, you need look no further.
Location Info:
Uptown Bar and Café
Artist Info: The Beatifics
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