Thursday night I saw Victor Wooten at the Somerville Theatre. It was my first time seeing him as a headliner; I had only seen him with his usual band, Béla Fleck and the Flecktones. Right now, though, the Flecktones are on a year-long hiatus, and Victor is on tour to promote his new CD, Soul Circus.
Victor’s band was an all-star cast of family and friends: brothers Regi Wooten and Joe Wooten on guitar and keyboard, Derico Watson and JD Blair on drums, Saundra Williams and rapper MC Divinity on vocals, and many others. Amazingly, nearly everyone on stage was a virtuoso musician. That alone made it a great show, but it wasn’t without its weak spots.
As I’ve often said in regard to his earlier recordings, Victor’s solo work tries a bit too hard to be thought-provoking. For example, there are random tracks on A Show of Hands, his 1996 release, that are nothing but trite quotes, such as “When the goin’ gets tough, that is a positive signal to keep chargin’.” At the concert, Victor took his philosophizing to the next level. He would lapse into ruminations on life and fatherhood for several minutes at a time, losing the crowd at some points, and then have to pop out a mind-numbing solo to get everyone’s attention again.
Victor’s strong familial attachment is still evident as well, and not just because he performs with his brothers. On 1999’s Yin Yang, Wooten brings in his baby daughter Kaila to “sing” on two tracks – the musician’s equivalent of forcing someone to watch your video footage of the kids’ birthday parties. Judging from the tracklist (“Ari’s Eyes,” “Outro: Kids”), I’m sure Soul Circus is much the same. During the concert, he chastised the audience for cursing at the lighting crew for shining a spotlight onto the balcony. “There are kids here,” he said softly. “My kids are here.” Later, he brought his son Adam onstage for a high five.
Another common (and valid) complaint is that Victor’s lyrics are frequently cheesy or cliché. A new tune, aptly titled Bass Tribute, has lines like “Stanley Clarke / I tip my hat to you / Jaco Pastorius / You know I love you too.” (The names change the next time through the chorus.) Then again, “Everybody’s waiting for the hero / but the hero is in all of us” is hardly an impressive line. Nor, for that matter, is “What did he say?” repeated ad nauseam.
While Victor’s forays into lyrical songwriting leave something to be desired, his playing does not – the critiques fall to the wayside once he plunks down a solo. Of the new stuff, most notable was “Stay,” a great funk groove in 11/8. Also, Regi Wooten gave a jaw-dropping performance on a medley that included Soul Circus tune “Higher Law,” Led Zeppelin’s classic “Kashmir,” and Jimi Hendrix’s “Fire” (complete with a guitar-biting solo). There was some classic Victor as well – a solo with the looping machine, his famous arrangement of Amazing Grace, and a encore chock full of greatest hits, including Flecktones standard The Sinister Minister.
More distressing than the cheesy tributes and life lessons was an edge of arrogance and pretension not normally associated with Victor’s music. The show began with a five-minute mockumentary about Victor having eight arms, which was cute. Then JD Blair came on as a showman and played up the circus motif as the rest of the band made their way onto the stage. A good fifteen minutes after the lights went down, Victor finally made his appearance – with strobe lights, on top of a huge platform. He had his arms outstretched and his head tilted back, looking like a god demanding worship.
The rest of the show reinforced this idea. During his solos, other band members would stare at his hands with amazed looks on their faces. A couple of the songs brought an uncomfortable feeling to the show. On “Victa,” the band brags about their star: “My name is Victa and I’m a winner and I know what I’m talkin’ about / And just cuz I come out on top don’t mean I’m leaving you out / I’m a trickster but not a sinner and you may not agree / But before you start to criticize, are you talking about you or me?”
The irony is that Victor is fully deserving of the highest accolades – he is a phenomenal player, and I’ll definitely be picking up his CD. But in explicitly trying to make popular music, his admitted goal with this album, something goes wrong. Wooten is most impressive when he strips away the pretension. We don’t need the stage show, the mediocre lyrics, and the philosophical ramblings. We just want to hear him play. And sadly, in his attempt to propel himself into the mainstream, he lost some of his musical integrity.