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September 06, 2000 - Image 56

Resource type:
The Michigan Daily, 2000-09-06

Disclaimer: Computer generated plain text may have errors. Read more about this.

4D - New Student Edition - The Michigan Daily - Wednesday, September 6, 2000

Continued from Page 3D
Midway through the show, the rhyth-
mic poetry of "Oppression" drew an
even larger response from the audience
as Leach and Nelson stepped forward
on stage, Leach carrying the trademark
hand drum and Nelson forging an
undercurrent of rhythm with a pair of
shakers. As Harper bellowed a loud
scream, the band edged into a surpris-
ing rendition of Bob Marley's "Get Up,
Stand Up." Rising faster and faster,
Leach led the song into a climax of
moving drum rhythms and patterns.
While moments like this exposed
the live energy of the band, at times
the show became disjointed - cer-
tain energetic songs lacked the ener-
gy they should have, evident as the
crowd dropped toatheir chairs during
the overly loud guitars of "The
Woman In You" or the more annoy-
ing "Less." But Harper didn't sway in
the least, finishing the show with the
upbeat folk ditty, "Steal My Kisses."
In his simple black T-shirt, he left the
chair for the first time of the show
and danced with Leach, Nelson and
human beatbox Nick Rich.
Exempt from the stage for only three
minutes, Harper returned to play a
beautiful solo acoustic set for an
encore. Alongside the passionate
"Roses From My Friends" came a ver-
sion of Pearl Jam's "Indifference" that
was very-close-but-not-quite Eddie
Vedder. However, the encore turned
tired and began to wane as it ran long
once the fifth song strummed around.
Yet again, Harper and the Innocent
Criminals stepped on stage for one
final surprise - an exciting, hip rendi-
tion straight "for Michigan and Detroit
and Motown." The excited crowd
danced and sang as Harper did his best
Marvin Gaye with "Sexual Healing."
Following up with the show closer, a
cover of the Jimi Hendrix tune "Manic
Depression, Harper slapped the hands
of his fans and paused to acknowledge
his art with a slap of his guitar
before he left the stage.


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Singer Wyclef Jean brought the crowd to their feet - and onstage - at Hill-

Continued from Page 3D
that conservative shit"
90 minutes into the concert, a
young boy with dread-locked hair
barely 10-years-old was lifted from
the audience. Hardly breaking a
sweat, the youngster helped his
father on-stage. Jean turned the
microphone over to the long-haired
man before the two sang a reggae
duet, thus proving the artist's versa-
tile talents. Other spontaneous acts
included a freestyle competition
between a tattooed audience mem-
ber and ean.
Throughout the night, Jean repeat-
edly teased the crowd by pretending
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to end the show. However, the crowd's
feroricous energy hardly subsided
with each idle threat. Finally, two
hours into the concert, as Jean
screamed "The after-party has
begun," crazed fans began climbing
on-stage. Within a span of 15 min-
utes, a mass of bodies filled the tiny
stage dancing and singing along with
The Product, Jean and his band.
Security eventually pulled the plug
while Jean, standing on two 8-foot
speakers, looked down on the crowd.
Overall, the show highlighted
Jean's ability to entertain and ener-
gize a crowd. Though he sang less
than ten songs, Jean held to his
promise and made his show unfor-

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