Wednesday night, MacArthur fellows Chris Thile & Edgar Meyer graced the Wisconsin Union Theater in support of their new album Bass & Mandolin. It was a stunning technical performance, though often very dissonant and challenging to the listener. The audience was not at all put off by the complicated rhythms and shifting harmonic structures, instead meeting the performers with laughter, approval, and multiple standing ovations.
Thile and Meyer are legends in the worlds of both bluegrass and classical. With a combined 40 years in the industry–and collaborations with the likes of Yo Yo Ma and Béla Fleck under their belts–these musicians have achieved the quiet confidence of seasoned professionals. They had nothing to prove. Despite long, lightning fast unison melodies and unfathomably complicated rhythms and arrangements, there were no mistakes and no hint that they had to work to avoid mistakes. Instead they stayed loose and made these masterful composition look as easy as “Chopsticks.”
Each song seamlessly combined bluegrass, classical, Celtic, swing and bop influences. With dizzying complexity, Thile and Meyer blurred the lines of genre to make something that was truly their own. The rapid shifts were occasionally overwhelming, as were the frequent key changes and chromaticisms, but the masters sold it with their impeccable technique. Though it is almost unimaginable that anyone could think up music like this, it is clear these two musicians were accomplishing exactly what they set out to do. Their unwavering commitment to this fusion of genre was infectious. The audience was extraordinarily receptive.
The set list was mainly comprised of originals from their two albums, with pieces by Bach sprinkled here and there. The strict, classical counterpoint was a welcome and soothing relief from the dissonant, Frank Zappa-esque jazzy bluegrass jams of the rest of the night. Perhaps a little too soothing, as many audience took these interludes as a chance to nap.
The most surprising part of the show was how funny it was. Between songs, there were no haughty monologues on the nature of art or the meaning of life. Instead, they cracked jokes. “That was one of the last pieces Bach wrote before he died,” said Meyer. “In this set we will be playing some more music that we’ve written before we died.” The crowd laughed, and Thile pitched in, “So much music is like that!”
Despite this kidding hint at mortality, the mood remained light. The songs were not dedicated to lovers or deceased friends. Instead, the songs had silly, childish, nonsensical titles. Selections from the night included “Ham on Cheese,” “This Is a Pig,” “It’s Dark in Here” and as Thile put it, “an existential piece entitled ‘The Farmer and The Duck.’”
Between songs, Thile drew attention to their unimaginative album titles. “Of the two albums we are selling tonight, the first is called [Edgar] Meyer & [Chris] Thile, and the second is Bass & Mandolin. This is a piece from Bass & Mandolin.” The ensuing song had neither bass nor mandolin, as Thile picked up a guitar and Meyer switched to piano. Though it was set up with a joke, it was one of the most serious, tender songs of the night.
Overall, it was a stunning performance. The artists played for over two hours and were met with multiple standing ovations, both before and after their encore. The show was funny, breathtaking, light, and serious all at once.
