The Lumineers Illuminate Chaifetz Arena In Concert

Concert Series at The Frick Collection to Celebrate 75th Anniversary

Frontman Wesley Schultz said when he walked into the arena earlier in the day hed hoped itd be at least half full for the concert. The band did that and much more. The band, out promoting its self-titled debut album (recently rereleased in a deluxe version), modestly took to the Chaifetz Arena stage, which was sparingly decorated save for five vintage chandeliers overhead. Schultz tried to set a particular mood early on during the bands popular Ho Hey, requesting fans to put away their cellphone video and to just be there in the moment. (He apparently didnt know that St. Louis concertgoers do as they please, and repeated the request mid-song.) The band, featuring Schultz and his comrades Jeremiah Fraites (drums), Neyla Pekarek (vocals, cello), Stelth Ulvang (piano) and Ben Wahamaki (bass), delivered an illuminating performance that was a 75-minute run-through of its album with rootsy songs boasting homespun lyrics and shifting tempos. Submarines, Flowers in Your Hair, Classy Girl, Dead Sea and Big Parade were among the tunes plucked from the album, often resulting in sing-alongs, clap-alongs and more including the band dividing the audience in half for some call and response on Stubborn Love. Aint Nobodys Problem was one of the bonus tracks on the reissue performed here, and keeping in that spirit of highlighting the bonus tracks, the band also performed worthy new songs Darlene and Elouise in the center of the arena floor. Were used to playing smaller shows. We wanna make this feel like a smaller show, Schultz said. The band was truly up close and personal on Darlene and Elouise, not on a B stage that was nearly as remote as the main stage. Bob Dylans Subterranean Homesick Blues, in twisted form here, proved a fine complement to the bands repertoire. Fans standing on the open floor responded in kind to the Lumineers, throwing glow sticks high into the air with reckless abandon all evening.

The Frick concert series also has a long history of reaching audiences far beyond those present for performances. Since 1939 the concerts have been broadcast on the Municipal Broadcasting System, American Public Radio, and WNYC Radio. Currently, concerts can be heard on WQXR/National Public Radio. Recent performances are posted on the station’s Web site for up to two years. In addition, since 2009, four concerts annually have been broadcast on BBC Radio 3 in the United Kingdom. For complete program information, visit www.frick.org/programs/concerts . 75TH ANNIVERSARY SEASON Il Pianoforte Italiano- Clementi, Dallapiccola, Pistoia, Scarlatti, and Bach transcriptions of Marcello and Vivaldi Miguet Quartett (debut) Haydn, Ligeti, Mendelssohn Trio Settecento: Rachel Barton Pine, violin; John Mark Rozendaal, cello; David Schrader, harpsichord 18th-Century Fiddle Music in the Scottish Tradition: Corelli, Mackintosh, McGibbon, Munro, Geminiani, Erskine, traditional tunes Henry Clay Frick (1849-1919), the coke and steel industrialist, philanthropist, and art collector, left his New York residence and his remarkable collection of European paintings, sculpture, and decorative arts to the public “for the purpose of establishing and maintaining a gallery of art, [and] of encouraging and developing the study of fine arts and of advancing the general knowledge of kindred subjects.” Designed and built for Mr. Frick in 1913 and 1914 by Thomas Hastings of Carrere and Hastings, the mansion provides a grand domestic setting for the masterworks it contains and is reminiscent of the noble houses of Europe. Of special note are paintings from the Renaissance through the nineteenth century by masters such as Bellini, Constable, Corot, Fragonard, Gainsborough, Goya, El Greco, Holbein, Ingres, Manet, Monet, Rembrandt, Renoir, Titian, Turner, Velazquez, Vermeer, and Whistler. Mr. Frick’s superb examples of French eighteenth-century furniture, Italian Renaissance bronzes, and Limoges enamels are celebrated as well. The galleries are beloved by the public for their contemplative ambiance, while the interior and exterior gardens and the amenities added in the 1930s and 1970s contribute to the serenity of the visitor’s experience.