The Lower Lights' Luminosity

Tonight I went to a concert. The Lower Lights concert, to be precise.


Have you heard of this group of talented musicians? Each of the individual members in the group have their own projects going on outside of The Lower Lights. Some are solo, singer/songwriter types. Others are in various bands. And, as I found out tonight, each of them is extremely good at what they do. Which wasn't necessarily a surprise since I'd been to their site and I'd listened to the music and watched the videos they have available there. Just touring their website was my only knowledge of The Lower Lights. I liked what I heard and I was really excited to attend their concert.


But...


I don't think I'm alone in my experience of finding music you like, only to find out that the people making said music really NEED a studio... AND a sound mixer... AND a great producer in order to sound good. Some groups NEED the magic of studio manipulation in order to sound like they really know what they're doing. Have you ever fallen in love with a band or solo artist only to discover that they do not measure up to your expectations live?



I am pleased to report this was not the case with The Lower Lights.



The musicians who make up The Lower Lights are the real deal. These are some seriously talented folks who all cram onto one small stage to play some great renditions of familiar (and some not-so-familiar) hymns. I had a great time. Here's the rundown:

the stage before the show

The show started with a welcome from Ryan Tanner, who served as a quasi-MC for the night. He very quickly admonished us, the audience, that we needed to be louder; to participate with them by clapping, singing, being active throughout the show. I might fault the venue for the reticence of the congregation, I mean audience. The show was held in The Post Theater, which is not a huge place. It seats 250. It feels like a theater where you are supposed to sit quietly and witness, not interact too much.

Don't get me wrong, I was ready to sing along, and stomp, and clap, but not too many others seemed likewise inclined. And I wasn't about to make a spectacle of myself. It's not my style.


Anyway, they started with their rendition of "Ye Elders of Israel" which was every bit as foot-stompingly, hand-clappingly good live as it is in their recorded version. With Debra Fotheringham's ethereal voice emerging from the stomping and clapping, it definitely grabs your attention and says, "listen to us, we are different".

And they are.


Next was "Come, Ye Children of the Lord" followed by "There is Sunshine in My Soul Today". Both were great.

"Sweet Hour of Prayer" was next in the set. Such a familiar hymn, made new (or revived) by their folksy/country/bluesy interpretation. They do it beautiful justice.


It's hard to describe the power - and the inspiring beauty - found in taking the simple frameworks of the hymns and making them more complex through inventive harmonies, and beautiful instrumental solos. Over the course of the (roughly) 90 minute show there was some killer slide guitar by Dylan Schorer, some haunting cello by Mark Smith, amazing banjo skillz by Colin Botts, a sousaphone backbone by Pat Campbell , great keyboard work by Brian Hardy, and I cannot fail to mention Ryan Tanner and Paul Jacobsen. Everyone was awesome. I should be clear about one thing here. I've mentioned the names of a few of the artists (because that's what they are - artists more than mere musicians) but I have not mentioned everyone that was there. Simply because I'm not sure of each of their names - so even if I failed to mention someone does not mean that they weren't every bit as amazing as the ones that I have mentioned.

I mentioned before that it was a little theater. It was a little stage that the 14 musicians were sharing. They were all crammed onstage, everyone making their own contribution(s) - instrumental work, singing, humming, ooohhhing, aaahhhhing, and percussion of every conceivable kind - including clapping, stomping, snapping their fingers, thigh slapping, and playing the tambourine. Each person did a beautiful job. It was like musical hot potato - every individual had their own parts, their own solos, their own chance to shine - each song using different combinations of the group, different instruments; even on those numbers that used everyone, the person that had the spotlight was always revolving. The energy was always building and rolling and evolving. It all felt very organic and authentic.

The next song they sang was one that I'd never heard, but it was one of my favorites of the night. "Tis So Sweet to Trust in Jesus" was sung by Dustin Christensen and Debra Fotheringham and it was a gorgeous hymn. I loved the simplicity of the arrangement and how well the two vocalists blended their voices. I got chills multiple times during that single song.

A rousing and robust "Swing Low, Sweet Chariot" was next. That perked quite a few members of the audience into clapping and singing along. A bit. Myself included.

Then came another hymn that I was not familiar with: "Brightly Beams Our Father's Mercy" opened by Ryan Tanner. It is another gorgeous gem of a song. I don't think it's a stretch that it was from this song's chorus that they got their name:

"Let the lower lights be burning! Send a gleam across the wave!
Some poor fainting, struggling seaman, you may rescue, you may save."

I loved how there were super-duper-familiar hymns mixed in with the more obscure. It was a great, balanced mix.

"All Creatures of Our God and King" lead by the supple and soft vocal stylings (and guitar strumming) by Sarah Sample. Beautiful. They followed that "The Lord is My Shepherd" with Debra, Sarah, and Mindy Gledhill effortlessly harmonizing together.

Another one of my favorites of the night, the guitar and banjo instrumental of "If You Could Hie to Kolob". It was awesome. I loved hearing that hymn (which I love) so pared down and simple.

Then there were two less familiar hymns - one by Hank Williams called "House of Gold" and the other by Willie Nelson but I don't know what it was called. All I know is that the way Dustin Christensen sang it, made the hairs on the back of my neck stand up and the back of my eyes water. That dude can sing.

Another favorite of the night was Mindy Gledhill's version of "For the Beauty of the Earth". This has always been one of my all-time favorite hymns. This is the hymn that always pops into my head whenever I am awed by the beauty of this life, this world. I love it - and Mindy and Ryan's voices are amazing together.

Next was "Jesus, Savior, Pilot Me" with Sarah and Ryan taking point. This one was amazing too. I loved the juxtaposition of each distinct voice. You wouldn't think they would go together, but they do; perfectly.

They ended their set with "This Little Light of Mine" which was energetic and joyful. A perfect ending.

But then it wasn't over. Not really.

They came and did an encore song with "Go Tell it on the Mountain" - a wonderful version, aptly lead by Paul Jacobsen.

After the show I had the opportunity to meet Mindy Gledhill and have her sign a copy of her new solo album, "Anchor". (Which I love, by the way... perhaps I shall expand on that at a later date when it's not so late....)

My sister, Dawnette, (who came with me) had the presence of mind to suggest we have our picture taken with her. And Mindy kindly obliged.

It was a lovely evening. I thoroughly enjoyed it. (You may be able to tell that I'm finding it hard to adequately describe my feelings about it.)

Maybe this will serve to illustrate: as I was driving the hour long trip home (in a crazy, Utah snow storm), instead of feeling stressed out and on edge about the crappy weather and the crazy inconsiderate drivers, I felt calm.

I felt peaceful. I felt edified. I felt full, spiritually.

And, really, at the end of it all, I think that was probably one of the goals of this lovely group of talented musicians coming together to make a record of such gorgeous hymns... to be a shining beacon of hope, renewal, and inspiration.

You should buy the record. It's amazing.

But probably not as amazing as hearing and seeing them in person... which I would also highly recommend if you are ever given the chance.

But buy the record regardless.

You won't regret it.