Pearl Jam, R.E.M., Morissette Turn Music Into Ploughshares At Groundwork Concert

Artists gather in Seattle to raise money for United Nations' Food and Agriculture Organization, which fights world hunger.

SEATTLE — It was the benefit that almost fell off the radar.

At any other point in time, a charity show boasting R.E.M., Pearl Jam and
Alanis Morissette would have drawn nationwide attention. But on the heels
of a weekend that saw Paul McCartney, Mick Jagger , Michael Jackson and ’NSYNC , not to mention George Strait and Martina McBride , take to stages to
raise money for September 11 attack victims, the Groundwork anti-hunger event
Monday in Seattle was nearly overshadowed on the music landscape.

Nonetheless, about 15,000 fans flocked to Key Arena to witness the
star-studded show. The gig capped a week-long series of concerts across the city that
included sets by Dave Matthews, the Blind Boys of Alabama,
Emmylou Harris, the Wallflowers, Joe Strummer, Heart, and Michael Franti and Spearhead, all of which raised money for the United Nations’ Food and
Agriculture Organization.

“We’re R.E.M. and this is what we do,” singer Michael Stipe said before the
band — stripped for one song to its core of Stipe, bassist/keyboardist
Mike Mills and guitarist Peter Buck — lit into a cagey, acoustic version
of “The One I Love.” The brief comments were indicative of the evening’s
“chat less, rock more” atmosphere.

Following opening sets by Femi Kuti and Maná, Morissette threw down an
energetic, though brief, performance that touched on her last two studio albums
as well as new material. Among the unreleased tunes was “Sister Blister,” a
call for unity among women (“We fight to please the brothers … to beg the
club of boys to let us in”). Against straight-ahead pounding from the
drums, the guitar churned out a riff just shy of a Bo Diddley beat, and
keyboards pinched out spacey squeals.

Next up, Rahat Nusrat Fateh Ali Khan, who surely endured the longest trek
for the show: 32 hours of flying on short notice to perform a 30-minute set
of Pakistani qawwali music that handily brought the crowd to its feet.

And then the hometown had its turn. Pearl Jam plowed across an almost
hitless set that still had fans chanting “Eddie! Eddie!” throughout. During
a hot rod run through “Do the Evolution,” singer Eddie Vedder growled like
the world’s skinniest bear. The group opened by reprising the cover of John
Lennon’s “Give Me Some Truth” it unveiled over the weekend at San
Francisco’s Bridge School benefit shows (see “Matthews, Pearl Jam, R.E.M. Give Peace A Chance At Bridge School” ). Sporting a suave haircut and
tasteful, blue plaid sport coat, Vedder looked like he could have been the
date of celebrity emcee Gwyneth Paltrow.

The band reached its emotional apex when Fateh Ali Khan joined the group
for a soulful interpretation of “The Long Road,” which Vedder originally
recorded with Fateh Ali Khan’s uncle, the late Nusrat Fateh Ali Khan, for the “Dead Man Walking” soundtrack. Diehard fans welcomed the second-ever appearance of the
quiet new song “I Am Mine,” an apparent yearning for peace. “I only know my
mind,” Vedder sang, “I am mine.”

R.E.M. closed out the night with a 14-song set, most of which was culled
from their past five years of recording. Like Pearl Jam, R.E.M. largely
eschewed hits in favor of lesser-knowns such as “Let Me In” (from 1994’s
Monster) and “So Fast, So Numb” (from 1996’s New Adventures in
) as well as four tunes from this year’s Reveal. Stipe
dedicated Automatic for the People’s “Find the River” to the
Rev. Howard Finster, who painted the cover for the band’s LP Reckoning (1984).
Finster died earlier in the day from heart failure at age 84 (see “R.E.M., Talking Heads Cover Artist Rev. Howard Finster Dies” ).

The band capped their encore with an adrenalized, if predictable, take on
“It’s the End of the World As We Know It (And I Feel Fine),” which then
blossomed into a rousing version of Patti Smith’s “People Have the Power.”
With Vedder assisting on vocals, Stipe issued a rallying call to action.

“C’mon!” Stipe demanded. “Are you alive? Is this a moment in time that you
choose to be alive? Who are you?”

As he and Vedder shimmied and the tune wound down, Stipe’s invocation
served as a reminder of both the anti-hunger mission at hand and the other
worthy causes that nearly eclipsed it.