If the tour opener in Cleveland was finesse Umphrey’s, leaning into what will likely be a grueling and demanding 12-show run, last night in Niagara Falls, NY was the flexing of the muscle. The energy, from the jump, was infectious and palpable, with the group expanding on some of the themes they set in the tour opener. After just two shows, we already see some musical patterns emerging that will take the group through the meat of this tour. Let’s get into it.

Set One

Set I: No Crying in Mexico > 40’s Theme, #5, Push the Pig, The Crooked One > Mad Love, Meeting in the Aisle > Phil’s Farm

How They Played

I’ll admit: The JO intro’s played over the PA have never really moved me. I now realize I’m an idiot for ever thinking this. After comparing the starts of Cleveland and Niagara, there really is no comparison when it comes to energy. Coming out to “No Crying in Mexico” and building to the “40’s Theme” drop had the crowd (and those of us watching at home) on a frantic edge. “No Crying in Mexico” set the tone in a powerful way, and away we went.

Much like he did early on in the tour opener, Brendan Bayliss shined with his guitar work, this time on the opening “40’s Theme.” This show was all about the guitarists, as you’ll see, and Bayliss got the ball rolling on that theme in a big way. Melodic, tasteful and rocking all at the same time. The Umphrey’s Way, really. “#5” is fairly rare these days (just its 7th play of the year) and provided the group with a real chance at improv. This is when we saw what the night truly held as all six members engaged in heavy, full-band improvisation with Jake and Brendan at the forefront as Myers and Farag pounded away at the beat. The juxtaposition of beauty and metal-infused riffs on this song played right into their hand, and it was a joy to hear.

After a short build, off we were into “Push the Pig” for more of a cool-down performance but a fine one at that. Credit to Cinninger for rescuing what started out as a fairly uneventful improv section. Always there when you need him, that Jake.

“The Crooked One” showed up for just third time all year and signaled the start of the best segment of music on the tour so far. While the tune ranks as one of Brendan’s finest lyrics, the band also put a sinister, downright evil spin on it, sending me back to 10/30/10 at The Pageant, watching the group bang out a version of “The Linear” that still holds up today. More credit to Cinninger and Joel Cummins for some fantastic interplay. Cummins held down a very “Halloween” type riff while Jake mirrored him and spun off at times, making for a compelling listen. These two did some damage in Cleveland and looked to be locked in so far. Joel hopped on the Moog to take us into “Mad Love,” a UMBowl Raw Stewage that still blows me away to this day. The perfect placement also helped as the contrast between evil “The Crooked One” and soaring, beautiful “Mad Love” was evident. It may be fall, but you don’t want to bog down the good people with too many dark jams.

The best set of the tour closed with what may be their most out-of-left-field cover in Radiohead’s first instrumental, “Meeting in the Aisle.” The OK Computer b-side fit the broody vibe put out early on before the group slipped into a “Phil’s Farm” that featured more sections than you know what to do with. Somehow, like most times, they made it work.

TL;DR Summary: Set was good. Real good.

MVP

I’ll go ahead and spoil it for you later on: Brendan Bayliss is the MVP of set two. For set one, it’s his counterpart Jake Cinninger. The guitarist in the hat really forced the issue in a wonderful way when things seemed to be winding down. Locking in with Joel on “The Crooked One” produced one of the best recent versions of the tune. He saved “Push the Pig” and also delivered on “#5” and “Mad Love.” That’s about 75% of the set, so that’s a winner.

Playback Value

“The Crooked One.” Thank me later. It’s for you if you’re more Hyde than Jekyll.

Set Two

Set II: Nothing Too Fancy, In the Flesh, Another Brick in the Wall, Example 1, Hourglass, Triple Wide > Hangover

Enc: Little Gift, Pay The Snucka

How They Played

While the first set was a frantic ball of energy rolling downhill, the “Nothing Too Fancy” that kicked off the second set was a slow burner that ultimately got where it needed to go thanks to the heroics of Brendan Bayliss and Jake Cinninger, as you probably guessed. The latter part of the Pink Floyd segment, “Another Brick in the Wall,” provided that jolt of energy as the group delivered a frantic, psychedelic jam that they really need to think about putting on the end of “Bad Friday.” But, I digress.

The cool down of “Example 1” provided some more opportunities to pace the jams as Brendan Bayliss took the charge on a layered jam before nailing the return and delivering the second newest track of the night in “Hourglass.” I’ve been a long proponent of this tune so I’m always glad to see it pop up in a set and it provided a nice moment of bare bones rock and roll before descending back into the depths with “The Triple Wide.” Again dominated by the guitarists, the funk-infused jam was brief but strong before falling into the set-closer, “Hangover.”

“Little Gift” might be coming along better than any of the songs from Similar Skin. It’s a wonderfully written rock song, which is apparently a lost art in the world of music today, and the band plays it with such ease and comfort that they can put some muscle into the song without damaging the already pristine product. A standardly rocking “Pay the Snucka” brought the evening to a close.

MVP

The aforementioned Brendan Bayliss earns the top bill tonight for set two. Bayliss set the pace in “Nothing Too Fancy,” “Example 1” and led a rocking “Hourglass,” among others.

Playback Value

As far as interesting, unique moments are concerned, “Example 1” takes the cake with a thoughtfully constructed, layered jam built up by each member.

To sum it up: Best show of the tour so far. Onto Pittsburgh which is sure to be a burner, particularly if the bassist and Steel City native is in given setlist duties.