When you see a bunch of half-hippie, half-trendy college students walking into a concert, what do you think of? Maybe The Strokes? Maybe Ani DiFranco? Would you really expect to see them later that night rocking out to Metallica? Well, believe it, because it's exactly what I did last Friday night. When supposed jam-band moe. performed at the Orpheum on November 7, they once again accomplished two of their signature feats: making Metallica fun as well as having me enjoy a jam-band performance while completely sober. The band - featuring Al Schnier on guitar and lead vocals, Rob Derhak on bass/vocals, Chuck Garvey on guitar/vocals, Vinnie Amico on drums and Jim Loughlin on percussion and acoustic guitar - formed in upstate New York. They coined their name from the Louis Jordan song, "Five Guys Named Moe." Their music is a variation on traditional jam-band sound, infused with funky beats and the occasional folk element that lends a rhythmic freshness to most of moe.'s work.

Moe. has generated an esteemed reputation and following, having won a Jammy Award (the jam-band equivalent of a Grammy that fans select) for their performance at Bonnaroo Tennessee in 2002. They are now on a fall tour sponsored by Instant Live and Coca Cola, where fans can purchase a live recording of the show directly after it ends.
Their performance at the Orpheum itself was decent despite a pretty inappropriate venue and only two sets. Moe. would be so much, er... "moe." enjoyable outside without serious security and strict regulations.

The first set was more instrumentally involving with strong jams. It included the songs "Okayalright," "Gone," "Nebraska," "McBain," "Hi and Lo" and "Head." The second set was much stronger and more energetic with "Bring It Back Home," "Bullet," "Enter Sandman," "Kyle," "Time Again," "Water" and "Plane Crash." The Metallica cover was completely energized, and it's times like those when moe. revitalizes my infatuation and appreciation for them. I have a deep respect for a band that still has fun when they play, doesn't take their music too seriously, and is able to cater to a crowd who is still down to throw up some coyote hard rock hand symbols in the middle of a jam-band set. It is this attitude I find encompassed in moe.'s down-to-earth commercial appeal.

I won't lie - I'm not a huge modern day jam-band fan, and when I am, by normal hardcore fan standards, I'm a pretty mainstream one at that. I am attracted to the more pop-driven or less jammy albums even though I can appreciate the musical innovation and fully legitimate talent behind sprawling jams or untraditional jazz-like improvisations. Yet in the end I'd probably play Phish's "Farmhouse" or moe.'s "Dither" first; the latter album including no song longer than six minutes. Perhaps because of personal associations or because of the lighthearted innocence and "boyish vocal cheer" that moe. seems to promote, they can't help but cull my approval. In my opinion, moe. caters to this archaic vision of what jam bands used to encompass - ones like the Grateful Dead, early Cream and the Allman Brothers - masters of their domain who knew that even extended jams benefit from cohesion and direction. They are never hindered by an unassuming vocal accompaniment. In short, my slight disappointment with the show lays no fault on the band itself but more on the venue, my sobriety and an unalterable attachment to mainstream visions of songs that should be distinguishable and to which I preferably know the words. But I'll always give them one moe. chance.