Ida, Pedro the Lion & Mimi Crevola

If it had been a play, this evening's performance might have been titled, "I Could Have Heard a Pin Drop." The Blue Room Theatre was host to many moments this night where the emphasis was on the dialogue between artist and audience. The instrumental arrangements assisting rather than cloaking the musicians behind a curtain of sound. The performance demanded an attentive audience and musicians confidant enough to let their words be heard. It sounds much easier than what is usually possible in the live band setting. The fact that the evening proved so successful lay testament to the power and inventiveness all three of the night's bands communicated.

Out of the ashes of the now defunct flaming art / punk combo Uncle Rosco comes Mimi Crevola. Mimi Crevola is Kelly and Dave Greenfield utilizing a sparse arrangement primarily composed of voice and guitar, occasionally complimented by vintage organ swells. Mimi Crevola proved the perfect opening act emphasizing a dramatic set highlighted by Kelly's adventurous vocal phrasings and Dave's singular approach to guitar. His guitar playing alternated between finger-picked bass notes and arpeggiated lines that constantly cradled the impending tension between storm and spark. Mimi Crevola treads a taut path resembling Mecca Normal's inventive delivery and Nick Cave's somber lounge drama.

Seattle's Pedro the Lion were second to grace the Blue Room Theatre Stage. Touring behind their majestic Jade Tree album, Winners Never Quit, it appeared that all the new faces in the room were there to see this band. Word of mouth, magazine articles and superlative reviews have given Pedro the Lion much deserved attention. Their performance did nothing but provide concrete confirmation on why this band is special. Much has been made of singer/songwriter David Bazaan's spiritual leanings, but it is to his credit that he lets his songs speak for him. A lesser artist might claim the tag to find the market. Bazaan shows more care for his craft than reduce it all to simple labels and condensed philosophies.

Bazaan led his trio through an exhaustive, emotionally wrought set that successfully illustrated the band's transcendant gift in its use of dynamics. The rhythm section instinctually surrendered its space to Bazaan's fragile voice and lyrical grace, while at other moments, seized the ascending urgency of the song,, and propelled it to its imminent climax. Their set beautifully mixed mid-tempo ballads with passionate compositions crashing headlong combining conviction and force. But it was the quiet moments, suspended by one guitar string and Bazaan's vulnerability that left the room frozen, silent.

Pedro the Lion initially found its audience playing to the stalwart indie-types, which makes it welcoming to find them devoid of the negativity, elitism or attitudes that infect other bands who believe themselves above their audience. The fact the band, themselves, are approachable, coupled with their low key sincerity, seem to echo Bazaan's evident view of songwriting as communication. What he and his band communicated that cool April evening in The Blue Room Theatre was absolutely matchless.

New York's Ida was making their fourth appearance in Chico this evening. Previously the band operated as a quartet with two guitars, drums and bass. This time out the band was equipped with a violinist, two keyboards, and a drummer that eschewed standard rock moves for a more jazzy, atmospheric approach.

The additional instruments would both benefit and distract from the greatest strengths of the band — that being their unerring sensitivity to melody buoyed by gorgeous vocal harmonies.

Led by Dan and Elizabeth Littleton, Ida quietly put out three of the '90s' most radiant pop albums on the Simple Machines label. An EP later, the news was that the band had signed with a major. Ida had always been a band that should appeal to a larger audience, so the move seemed imminent and necessary. Unfortunately, for one reason or another, things fell through and the band was burdened with the legalities of garnering ownership of the recordings. With the wrestling match settled, the new album will be released by Tiger Style Records in July. Judging by a few of the songs they performed, the album should prove a pleasant diversion from our deadening gazillion degree sweltering summers.

Ida proved irresistible performing the older more familiar material. "Tellings" from I Know About You, and "Dream Date" off of their singles / rarities compilation were particularly convincing. "Dream Date" featured Dan Littleton orchestrating haunting strains of guitar feedback to compose the melody line of the song. Ida's cover of the Secret Stars' gem "Shoe-In" also was a high point.

The path that I was unable to follow was where the band focused more on texture and atmosphere than melody. While it was impossible to deny the inventiveness and beauty of the sounds they were producing, it seemed as though the purpose was misplaced without the melody and language that make Ida's songs so singular and resonant. I trust that I may need to hear the songs more than once to find their tunefulness and intent. It just appears that the band has reached a juncture where they are intellectualizing what they just use to feel.

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