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Jo in us for an extraordinary evening as Beck , the legendary pioneer of alternative rock and eight-time GRAMMY award-winner, takes the stage with the prestigious Philadelphia Orchestra on July 25 at TD Pavilion at the Mann ! Renowned for his genre-defying sound and innovative approach to music, Beck will showcase selections from his vast catalog alongside stunning orchestral arrangements. This unique collaboration promises a one-of-a-kind experience, blending Beck's signature style with the rich depth and dynamic range of a full orchestra.

As the title of his most recent album Hyperspace might imply, Beck has traveled light years from his emergence as a reluctant generational spokesperson when “Loser” exploded from a rejected 1992 demo into a ubiquitous 1994 smash. In the decades since, Beck's singular career has seen him explore all genres and eras of music, blurring boundaries and blazing a path into the future while foraging through the past.

Beginning with his 1994 debut Mellow Gold , Beck’s creative evolution has always progressed at an exponential rate. From 1996’s multi-platinum cultural touchstone Odelay to 1998's world-tripping Mutations and the florescent funk of 1999's Midnite Vultures , 2002's somber Sea Change , 2005's platinum tour de force Guero and 2006's sprawling The Information , 2008's acclaimed Modern Guilt , 2014’s Album of the Year GRAMMY winner Morning Phase , the “euphoric blast of experimental pop” ( Rolling Stone ) that was 2017’s Colors and his 2019 "best in a decade” ( People ) Hyperspace , no Beck record has ever sounded like its predecessor. The New York Times notes a consistent thread: "Though Beck’s records through the years have tended toward maximalism, a kind of meticulous sonic gorgeousness, melody remains central to his art.”

Tickets are on sale now via Ticketmaster.com  or the Mann's Ticket Office.

Bags must be 12"x6"x12" or smaller. For the safety of our patrons, all bags are subject to search.

Picnics are not allowed for this performance. 

If you are 21 years of age or older and plan to consume alcohol at the concert, please be prepared to present proper I.D.

Outside lawn chairs are not permitted for this performance. Lawn chair rentals available. Learn more at  MannCenter.org/LawnChairs . 

Small blankets are permitted for all shows, but we do ask that you be mindful of your neighbors on the lawn. 

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Californian pacesetter Beck was 32 when he recorded ‘Sea Change,’ and reviewers enthused that they’d never heard him write and perform with such maturity.

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When Beck stepped boldly into the 21st century with the album he released in 2002, reviewers enthused that they’d never heard him write and perform with such maturity. The Californian pacesetter was now 32 years old, with nearly a decade of recording experience under his belt, and was unveiling Sea Change .

Listen to  Sea Change  on  Apple Music  and Spotify .

After 1999’s Midnite Vultures , ever open to new avenues of expression, Beck took on a surprise big-screen role, acting in his friend Steve Hanft’s 2001 independent picture Southlander . Fellow musicians Beth Orton and Elliott Smith also appeared in the film.

‘You Can’t Argue With A Sick Mind’: Joe Walsh Rocks Out In Santa Monica

Beck later discussed that project in a phone interview with Record Collector , explaining that Hanft — whom he met when he was about 19, and who directed the “Loser” and “Where It’s At” videos — “wrote me into it, but he wanted me to play myself how he remembered me when he first met me.”

A familiar darkness

When Sea Change arrived the following year, the resemblance was also widely noted between the dark feel of the record and that of 1998’s Mutations . It was no coincidence that both projects had him working with the British producer whose work with Radiohead Beck admired, Nigel Godrich.

“Beck has rarely performed with such maturity and confidence,” beamed the Billboard review, “breathing a rich, often haunting baritone into songs that seem to follow a plotline thread of despair after the end of a relationship.”

Indeed, the mood of the dozen new songs on display was markedly melancholic, as Beck came to terms with the end of his nine-year relationship with stylist Leigh Limon. Rolling Stone went so far as to compare Sea Change to Blood On The Tracks , the 1975 album Bob Dylan made around the time of his estrangement from his then-wife Sara.

“After reshuffling any number of styles and perfecting his half-ironic deadpan,” observed the New York Times , “Beck has now come up with an entire album of slow songs about heartbreak and desolation, solitude and death.”

A new openness in Beck’s lyrical approach was certainly in plain sight, largely devoid of the whip-smart irony that had been his trademark. From the acoustic opener “The Golden Age” onwards, it was matched by an affecting simplicity and directness in the song constructions themselves, sometimes elegantly illustrated with lush strings.

Beck’s album contained such titles as “Lonesome Tears,” “Lost Cause” and “Already Dead,” as well as the reflective “Guess I’m Doing Fine.” It was far removed from the rambunctious verve of “Where It’s At” or “Sexx Laws.” “Forlorn folk,” The Guardian called it. But when he spoke to writer Paul Lester for that newspaper, he typically chose not to show his hand about the album’s emotional motivation.

“I don’t talk too much about my personal life,” he said. “You’ll get a thousand times more of me from my music than anything I could say in an interview. When you start opening yourself up in that way, it cheapens your life.”

The album was introduced by the engaging lead promo track “Lost Cause,” followed as a single by “Guess I’m Doing Fine,” which had a video directed by Spike Jonze. Sea Change was every bit of the gear shift that its title implied, but many of Beck’s admirers were eager to make the leap of maturity with him.

The long player peaked at No.8 in the US, made the Top 10 in his stronghold of Scandinavia and was a Top 20 success in the UK, Australia and elsewhere. It went on to sit comfortably inside the Top 20 of Rolling Stone ’s list of the best albums of the 2000s.

Playful on tour

After some shows early in 2002 and an appearance in the spring at the Coachella Festival, Beck teed up the LP release with an August tour of the US. There was certainly no trace of glum introspection when he arrived at the Michigan Theater in Ann Arbor, as MTV reported.

“Beck’s two-hour acoustic performance had a playful vibe throughout,” wrote Christina Fuoco. “He filled the show with sly remarks, showing a different side to his flashy, leisure-suit-wearing self. The concert was a free-for-all, with fans shouting out names of songs in hopes that Beck would perform them.

“Sporting jeans, a white button-down shirt, Converse sneakers, dishevelled hair and rosy red cheeks, Beck cracked jokes the minute he hit the stage, which looked like an unkempt music classroom.” The show featured a guest appearance by Jack White, who joined Beck on “Cold Brains” and a version of “Last Fair Deal Gone Down,” by their mutual inspiration Robert Johnson.

Laughing and joking with the audience and cracking up as he attempted to play “Sissyneck,” Beck eschewed most of his more beat-driven hip-hop flavors. “I’ve been trying to figure out how to do the hip-hop thing live,” he said. “I’ve been studying LL Cool J’s Unplugged for 15 hours straight. I have not figured [it out]. It’ll come to me.”

A song every two days

Beck told Record Collector that the Sea Change sessions resembled those with Godrich for Mutations . “It turned into a song every two days,” he said. “ Mutations we recorded and mixed in two weeks, this was probably three and a half but we got a little more ambitious I think, because we had orchestral arrangements and different musicians coming and going.”

The sessions took place at Ocean Way Studios in Los Angeles. “It was a reunion of sorts,” he said. “It was something we’d been planning for four years, talking about. 9/11 happened and then people weren’t working as much, I think we originally wanted to do this record a year and a half ago, but it took a while for people to line up.”

Listen to the best of Beck on Apple Music and Spotify .

The record repaid that perseverance, just as it continues to reward repeated listens. Beck followed its release with another North American tour in the autumn that included two nights at the Beacon Theatre in New York and another at the Universal Amphitheatre in LA. The album went gold in America in 2005; the sea change had been completed to great effect.

Read more on Beck’s catalog as part of our Behind The Albums series .

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Beck is stage name of American singer-songwriter, producer and multi-instrumentalist Beck Hansen, known for his genre blurring, experimental style, hailing from Los Angeles, California, U.S.

With the creative juices of his arranger/conductor father David Campbell and mother Bibbe Hansen, who was a regular at Andy Warhol’s Factory and pertinent to the rise of the Fluxus art movement, Beck dropped out of school in 10th grade to busk on the streets and attend poetry slams. After adopting a folk and blues style on the home recording “The Banjo Story”, Beck worked alongside Karl Stephenson to create a collection of songs with folk sensibilities combined with hip-hop beats. The musician’s debut release came with the single “MTV Makes Me Want to Smoke Crack” followed by the 17-track cassette “Golden Feelings” in 1993.

Beck’s move into the musical consciousness however didn’t arrive until the label Bong Load released the 12” single of the timeless hit “Loser”. The singer-songwriter subsequently signed with Geffen Records that meant he could released through independent labels, through which he released the 10” “A Western Harvest Field” in 1994. Beck’s debut full-length “Mellow Gold” arrived in March 1994, and shot to success on the back of the single “Loser”. Combining the infectious groove of blues guitar with the hip hop rhythm reminiscent of the Beastie Boys, the single and album became a smash.

In fear of becoming a novelty act, Beck quickly released a pair of LPs “Stereopathetic Soul Manure” and “One Foot In the Grave” in 1994. The minimalist nature of the latter showcased the singer-songwriter’s musical depth, and proved Beck wasn’t another one trick pony. After an extensive period of touring in 1994 and into 1995 including shows on the Lollapalooza tour, Beck enlisted the help of the Beastie Boys’ production team the Dust Brothers to work on his sophomore. “Odelay” appeared in mid-1996 to overwhelming commercial and critical success, earning a Grammy nomination in 1997. The album spawned the singles “Where It’s At”, “Devils Haircut”, and “The New Pollution”, and generated a huge amount of exposure and publicity.

Leaving the cut and paste process of the Dust Brothers’ production style behind, 1998’s “Mutations” was noted for its live, no-doctoring approach. The album once again earned positive reviews and resulted in Beck winning the Grammy for Best Alternative Music Performance in 1999. Taking influence from the hip hop and R&B act R. Kelly, the singer-songwriter worked alongside bassist Justin Meldal-Johnsen and keyboardist Roger Joseph Manning, to produce his seventh studio album “Midnight Vultures”. The album, released in 1999, aimed to be an upbeat and energetic record that would be enjoyable and fun to play on tour.

The acoustic album “Sea Change” arrived in 2002 as a result of the break-up of Beck's nine-year relationship, followed by the full-length “Guero” in 2005. “Guero” spawned the hits “E-Pro” and “Hell Yes” and led to the remix of the entire album entitled “Guerolito”. Produced by Danger Mouse, Beck released “Modern Guilt” in 2008, which debuted at No. eight on the Billboard 200 and earned favourable reviews. Beck subsequently focused on production and worked alongside Charlotte Gainsbourg, Thurston Moore, and Stephen Malkmus & the Jicks. New material arrived in 2012 with the collection of sheet music “Song Reader” followed in 2014 by the album “Morning Phase”, which peaked at No. 2 on the Billboard 200 and earned Beck three Grammys in 2015 for Best Engineered Album, Non-Classical, Best Rock Album, and Album of the Year.

Live reviews

Just saw his first headlining show in MSG in NYC. Tickets were a mess bc they kept lowering the prices with secret sales, angering fans who bought the $$$ ones quickly. Cheap seats for ex, went from 49 to 30 to 17 (Only I found the 2 day $17 deal on TM apparently). They wanted to fill the stadium to honor Becks 1st headlining tour to a large arena like Madison Square Garden I guess, bc sales were slow. Only pissed fans off.

I was like 6 when Beck came out, but I guess everyone else was MY AGE (30), bc lot of old farts in the crowd, many of whom sat the whole show, either writhing occasionally or stoic as if watching the ballet. I was up out of my seat dancing like silly string and singing, esp at the end of the set list, which was 80% filler. About 6 famous or fantastically upbeat songs were omitted.... Gamma Ray, Hell Yes, Nausea, Time Bomb, Tropicalia, etc. And he spoke more often than any artist I've ever seen (I've seen at least 100). Also sound quality was low during the first part of the 2 hr show. The encore was fake bc I was already told the show ends at 11, which it did after the encore. And oddly enough, a song that was JUST DONE was REPEATED for the encore, rather than choosing from his extensive catalog.

The highlight of the show was Beck saying that his grandfather emigrated from whatever country to the U.S.... ILLEGALLY, and the crowd roared in support!--me included! That was a big FUCK YOU TRUMP moment, and I was happy to be among that.

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Seeing Beck live is by far a must for everyone. Whether you are a diehard fan of this güero or just familiar with "Loser" and other hits, you will surely be entertained by the creativity that Beck often puts into his shows.

While some of my favorite memories are from the last minute, "secret" warm up shows that Beck often performs at small LA clubs like The Echo, it is the tour shows where his production skills match his musical talent. From the large king bed that descended upon LA's Greek Theatre stage during the classic slow jam "Debra" to being accompanied by a very unique male dancer/cowbell instrumentalist at the OC Fairgrounds, a Beck show has it all.

Probably the most memorable show was at The Wiltern where the entire show was re-enacted in real time...on stage...by a full band of marionette puppets.

And as many fans of Beck know, the singer has two sides - mellow ("Sea Change") Beck...and funky whiteboy ("Midnight Vultures") Beck. If you are lucky, you'll get a bit of both when you see him live. In both cases, not only will you get great music but you'll definitely get introduced to Beck and his bandmates' often off-beat and spontaneously creative humor. (He loves to talk about his Hyundai Excel).

A Beck show is not to be missed! Bottles and cans, just clap your hands!

The Kansas City show was amazing, a perfect concert. I've been going to concerts since I was 15 (45 years) and this ranks in my top 2 all time. The band was a perfect fit, the stage was amazing, the visuals added did not detract from music (I was at another show last month in Boston where the visual totally distracted from the music). I have not seen Beck before despite highly ranking him, he was a bucket list artist. I was a little surprised by his comfort on stage, goofy but legitimate cool, relaxed in charge but allowed the band to do their thing. You realize the expansive genre's he crosses and it's amazing. At my age, it's a challenge for a band to get me off my feet but I was dancing entire concert. It was the happiest concert I've been to in quite some time. Strangely maybe because he crosses so many genres he remains vastly underappreciated. idiots like Kanye West don't seem to see the genius. He traces his lineage during the show, "I wanna take you higher" (Sly Stone), covered Rasberry Beret (Prince) first few bars of Strawberry Field (Beatles) that's Beck. Dude improved 1 of his songs to guitar of More than a Feeling then followed with Hank Williams cover and into I'm So Free- cmon who else can do that credibly? I want to go again tonight that's how good it was.

As darkness descended on Queens’ historic Forest Hills stadium Beck greeted a crowd still buzzing over the sweat-soaked performance art from Matt Shultz of Cage the Elephant. But with cool self-assurance Beck and his six-piece backing band launched into “Loser” and the audience focus was completely reset. Hard to believe this genre-shifting rock elf from LA is 49 years old, because he still looks and moves like a twenty-something. His playlist leaned heavily on the albums “Colors”, “Guero”, and “Odelay”. He worked from a large physical set up, including a two-tiered stage with rear video panel. Pyrotechnics were subordinate to the music, except for large white and silver ballon balls that were released into the audience. Unfortunately, the wind was blowing towards the stage and the balloons kept bumping into the musicians, creating a minor distraction from an otherwise satisfying set from this immensely talented musician.

For the last 20 years, I've always been both aware of Beck and impressed with the variety of his work, but wouldn't consider myself a big fan. Of course I can sing along with songs like Loser and Where It's At, but I'd never seen him before in concert. I figure Beck will go down as one of the true great artists of my generation so I figured it would be worthwhile to check him out in concert. I really am enjoying his new album and in particular the single Blue Moon so I decided to attend his show in Raleigh. It was a fantastic show, full of energy on a hot and sweaty summer night in an outdoor amphitheater. Beck paraded out a tour de force through his 20 year career and kept the crowd singing, dancing, and sweating all night.

I was truly surprised by how much I enjoyed this show, and his excellent backing band. I'll definitely see Beck again, and won't wait another 20 years to do it.

Beck was great. Fun, engaging, humorous, and, of course, more talented than just about anyone out there. I will always see him as much as I can.

Red Rocks, on the other hand, used to be the greatest venue in the world, but all the Colorado potheads are ruining it fast. We took four kids and they were miserable. The smoke was nonstop. The Red Rocks staff do not enforce their own rules. They completely ignore what’s going on in the crowd. And the sound was so loud that even with earplugs it was painful. From what I hear that’s been true of more and more shows at Red Rocks this year, so I’m not sure if that’s a venue thing or an artist thing. Either way, it’s just not necessary to be that loud.

This review in no way reflects poorly on Beck. This was the third tome I’ve seen him and he’s always fantastic. But Colorado needs to take a f-Ing break with all the smoking.

Secund time we've seen Beck and he was awesome and entertaining yet again-maybe even surpassing himself. Aligned with incredible musicians and this time a backing chorus with 2 women and a dude who also played various instruments (guitar, shoulder strap keyboard, mandolin/tambourine/etc., ) and danced in an elevated stage behind the front band-it had a throwback quality and was very entertaining. And as usual Beck excels art his solo breakout/improv/cover session which makes every performance unique regardless of playlist repetition. Beck is one of the hardest working acts out there (as is the Foo Fighters, whom we saw a week before!)

Absolutely perfect! Enjoyed every second of it from start to finish! Wouldn't hesitate to see the exact same show again!! Only two minor complaints:

1: I wish the concert had been longer, but a 100 minutes is pretty solid (I'm just super greedy)

2: I wish he had played more morning phase stuff (Waking Light and Blue Moon, would both had been welcome additions!) I also really wish he would have played Heavens Ladder (but that might be too much to ask if you're catering to less hardcore fans)

All in all I loved it and hope he'll do a full tour soon! (Morning Phade tour!? Pleeeease!!!)

Beck was a ton of fun! It is worth mentioning that he plays a lot of the new songs so if you hate the new album, this might not be the tour for you. That being said, if you want a rollicking good time, you gotta see Beck. He is so comfortable on stage he could almost be accused of being too loose, but it really does feel like hanging out with him. He worked in 3 songs from Midnite Vultures so there are plenty of treats for diehard fans but he will still play the hits. And the acoustic interlude featuring songs from Morning Phase and Sea Change will of course be my favorite part.

Amazing!! It's got to be Red Rocks that make artists want to try things at concerts. Getting the audience involved in making a song on the spot is something I've seen several artist do at Red Rocks now. Anyways, the band was spot on. He played a ton of classics, starting the show off with 'Devils Haircu'. A couple acoustic hits and just two new songs 'Dreams' and 'Wow'. Have the second half of the show with Preservation Hall Jazz Band added. A great show, I would give it an 8/10

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September 22, 2002

It's easy to romanticize Beck as the scruffy wannabe who lived on friends' couches for a year, recording a new song every day on a beat-up four-track; absorbing Harry Smith's Anthology of American Folk Music and old school hip-hop with equal enthusiasm. The aptly titled "Loser", his biggest and most career-defining hit, was recorded in a friend's living room for kicks. His first live performances were on hijacked mics at other peoples' gigs: he'd just step up with a guitar or harmonica between acts and entertain while the often bemused next band set up their drums. On the homemade tapes and scrapped-together compilations that comprised his earliest recorded output, Beck cobbled together all of his influences-- noise, hardcore, country, rap, folk, grunge, R&B;, found sound and classic rock-- and melded it into his own junkyard punk.

Over subsequent releases Beck continued to refine the art of juxtaposing achingly poignant folk songs with lo-fi guitar freakouts, collages of dialogue and noise, and Radio Shack hip-hop. With Odelay he managed to pull all of these disparate elements together in an artful way, blending nimble dobro guitar figures, say, with sample-heavy backbeats, vocal samples, banjo, a loop of Van Morrison covering Bob Dylan-- bottles and cans, or just clap your hands. At live shows, or on Chris Douridas' morning program at KCRW, Beck would often play never-recorded songs he'd likely composed just a few days before playing them, exquisitely voiced and effortlessly brilliant.

What happened to that guy?

Mutations , the genteel quickie Beck recorded on the cheap in 1998, was largely a knee-jerk reaction to the daunting task of ever having to follow up Odelay at all. His label even reneged on a provision that allowed him to release records on independents, and it's little wonder: with Mutations , shit-hot producer Nigel Godrich had crafted a slick, almost clinically glossy record, with clean guitars that never buzzed or hit bum notes. And while "Cold Brains", "Nobody's Fault But My Own", and "Canceled Check" are great songs, lesser tracks like "Lazy Flies" and "We Live Again" were shamelessly gussied-up with tired space-rock bleeps and whooshes-- and I won't even get into the made-for-Starbucks faux-exotica of "Tropicalia". No offense to Pitchfork alum Neil Lieberman, who praised the album mellifluously, but in 2002 we're up to our asses in "futuristic roots albums". Let's call Mutations what it was: a soft-rock One Foot in the Grave made with Pro Tools and a heart of steel.

Perhaps it's telling that his seventh studio album is titled Sea Change -- for rather than the smooth, utterly inoffensive quirks of Mutations , Beck opts for abrupt changes in temperament and lush instrumentation. Recording again with Godrich and his regular band (Smokey Hormel, Roger Manning, Joey Waronker, and Justin Meldal-Johnsen) pounding out a track a day over an intense two-week period, Sea Change rightfully feels like a sequel to Mutations with no alarms and no surprises. In fact, opener, "The Golden Age", would feel right at home on Mutations itself, with its gentle mid-tempo strumming, lonesome wails of pedal steel and predictable space-rock flourishes.

A cloud of mind-numbing melancholy hangs over Sea Change , from the world-weary grandpa-Beck voice he employs on most of the tracks to its unfailingly morose lyrics. "These days I barely get by/ I don't even try," Beck sings in "The Golden Age", and that's just the tip of the jagged iceberg that looms ever larger in Sea Change 's periscope. It's obvious just from perusing the song titles-- "Lonesome Tears," "End of the Day," "Already Dead," "Lost Cause"-- that the 2002 model Beck is one sad sack (and it's impossible not to armchair quarterback which of Beck's celebrity girlfriends inspired such gut-wrenching bile). But though the songs are jam-packed with typical Beck imagery (stray dogs, moonlight drives, diamonds as kaleidoscopes) there's very little here that measures up to the eloquence of "She is all, and everything else is small."

It's pretty obvious what Beck is shooting for with Sea Change : that timeless quality that his heroes Hank Williams, Johnny Cash, Bob Dylan and Nick Drake seemed to exude with every recording. But here, as on Mutations , he confuses lyrical simplicity and standard-tuning, key-of-C songwriting with the unpretentious directness of his idols. Too often Beck saddles these songs with half-baked cliches and easy rhymes: "sky" always rhymes with "die", "care" always rhymes with "there". He doesn't even sound like himself on many of Sea Change 's more paint-by-numbers cuts. On "Guess I'm Doing Fine" Beck emotes in an unnatural croak that's likely the product of a digitally decelerated vocal track, but he mostly just sounds constipated. Likewise with the karaoke-honed Gordon Lightfoot impression Beck turns in on the hoary "End of the Day": "It's nothing that I haven't seen before/ But it still kills me like it did before."

Elsewhere, Beck mines Mutations ' folky space-rock vibe with more artful and ear-pleasing results. The chiming guitars and groaning strings of "Lost Cause" creak and sway like the tired masts of a pirate ship; washes of backward sound snake through the melody like restless ghosts. "The Golden Age", with its chorus of tinkling glockenspiels and cavernous echo, is a pleasant diversion in the vein of Mutations ' "Cold Brains." An unnecessary remake of 1994's "It's All In Your Mind" is tarted up with the omnipresent synth blips and drums, but some tastefully distant banjo licks and Suzie Katayama's swooning cello lend the song a resigned majesty the original certainly never portended.

But it's Sea Change 's most daring tracks that are ultimately its most satisfying. Beck's father, David Campbell, contributes inventive string arrangements to three cuts: "Paper Tiger" is a low-key triumph, with a minimal bed of bass and drums punched up by sudden, deep string attacks-- Beck's "Glass Onion," if you will; the deliciously overwrought "Lonesome Tears" is an uncomfortably raw display of emotion, with an unpredictable melody and unbelievably tortured chorus ("How could this love, ever-turning/ Never turn its eye on me?" Beck questions as the song builds to a cathartic tsunami of violins and ear-splitting noise); the moody, cinematic "Round the Bend" cribs the cadence and nocturnal vibe of Nick Drake's "River Man", augmented by plucky upright bass and Beck's subdued, almost intentionally slurred vocal.

But Cap'n Beck saves his strangest songs for the second half of the album, with the enigmatic "Sunday Sun" bathing odd, disjointed lyrics ("Jealous minds walk in a line, and their faces jade the strain") in a Brian Wilson-inspired glow, with mixed but cosmetically acceptable results. The unsettling sea shanty "Little One" is a return to form, with a fetching minor-chord hook and creepy lyrics ("Cold bones tied together by black ropes we pulled from a swing") intoned in a convincing Kurt Cobain growl.

He knots it all together, sorta, with the anticlimactic closer "Side of the Road", which plods along awkwardly amid busy slide-guitar work and a rambling electric piano. It's a far cry from the back-porch perfection of "Ramshackle", but given what it reveals, it'll do. "Something better than this, someplace I'd like to go," sings Beck in a tremulous voice seemingly decades beyond his 32 years. "To let all I've learned tell me what I know/ About the kind of life I never thought I'd live."

On Sea Change , Beck sounds intentionally world-weary, but it's the songs themselves that sound labored. Is it no longer enough for Beck to write profound, genre-bending tunes that stand on their own? Does he really need the crutch of suffocating overproduction and bold strokes of orchestration to shock us into caring again? Two turntables and a microphone, man!

'Cause there was a time when Beck didn't need Nigel Godrich to space out his white-collar blues. A winter spent in Calvin Johnson's basement, an afternoon spent with a beatbox and a slide guitar in a friend's living room was all he needed to pluck otherworldly songs from the fertile Beckscape of desolated views, crazy towns, lost causes and stolen boats. Given how much soul-searching obviously went into this record, it's distressing how little soul the finished product actually has. If there's anything the self-absorbed murk of Sea Change illustrates with unmistakable clarity, it's that Beck has forgotten how to connect with his inner loser-- and it's nobody's fault but his own.

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By David Fricke

David Fricke

I n 1994, Beck Hansen released his first major-label album. He called it Mellow Gold , and we all laughed at the irony: slacker caricature and coffeehouse hip-hop billed like a K-tel makeout platter. But Sea Change , his eighth album, is the real thing — a perfect treasure of soft, spangled woe sung with a heavy open heart.

It’s the best album Beck has ever made, and it sounds like he’s paid dearly for the achievement. He reportedly wrote these twelve wine-dark songs after breaking up with his longtime girlfriend. Significantly, two of Beck’s finest songs of the last decade were also pristine love-sucks blues: “Asshole,” on his ’94 garage-folk detour, One Foot in the Grave , and the raga moan “Nobody’s Fault but My Own,” on 1998’s Mutations . Sea Change , gleaming with twang and heartbroken strings, is an entire album of spectacular suffering.

This kind of candor does not come easily even to great record makers, and Beck, one of our sharpest, has never had much cause for such direct reflection. The satirical impatience and throbbing collage of his most commercial work — Mellow Gold , 1996’s Odelay , the ’99 pillow-talk pastiche Midnite Vultures — has always been more exhilarating than touching, a triumph of guarded magnificence. But you can clearly hear Beck banging between bravado and paralysis all over Sea Change . He gives his departing other a grand send-off at the start of the album, in “The Golden Age” (“Put your hands on the wheel/Let the golden age begin”), then fills the rest of the song with his own fear of going nowhere fast: “These days I barely get by/I don’t even try.” Compared to other titles here, such as “Lost Cause” and “Already Dead,” “Guess I’m Doing Fine” is happy talk. In fact, Beck is doing anything but; the low, slow way he sings on his way to the song’s punch line — “It’s only tears that I’m crying/It’s only you that I’m losing/Guess I’m doing fine” — is a powerful admission of failure.

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The clarity of his crisis has a lot to do with the naked strength of Beck’s singing. For someone who started out as a teenage folk hobo — just voice and strum — Beck has rarely walked this far out in front of the music on his own records. And considering his eternal-high-school looks, he possesses a surprisingly manly tenor, a clean, deep instrument of lust and worry. It fills the big spaces in Nigel Godrich’s haunted production — the backward-tape buzz in “Lost Cause”; the desert-Bach air of the keyboards in “Nothing I Haven’t Seen” — with the combined pathos of Nick Drake , the solo, freaked-out Syd Barrett and the John Lennon of Plastic Ono Band. When Beck and Godrich pour on the Indo- Beatles chaos in “Sunday Sun” — ghostly pounding piano and not-so-unison guitar; a meltdown coda of drums and distortion — you can still hear Beck’s resignation and unsteady resurrection inside the song.

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The Drake and Barrett comparisons are not idle flattery. Just as Mutations was Beck’s homage to Tropicalia — Brazil’s late-1960s revolution in art, sound and romanticism — Sea Change suggests that Beck has been studying the British early-1970s school of psychedelic-comedown melancholy. The coal-gray cry of string arrangements by Beck’s father, David Campbell, in “Lonesome Tears” and “Round the Bend” recall Robert Kirby’s exquisite orchestrations on Drake’s 1969 album Five Leaves Left . Godrich, who as a producer and engineer helped put the Pink Floyd in Radiohead , shows the same flair here for shadows and suspense. Beck made this record with a full band, including guitarist Smokey Hormel, keyboard player Roger Manning and drummer Joey Waronker. Yet on every song, it sounds like Beck is the only one in the room, alone with his questions and stumped for answers.

When Beck recently performed at New York’s Lincoln Center, he mixed some of these new songs with breathtaking covers of “No Expectations,” by the Rolling Stones, ” Big Star’s “Kangaroo,” the Zombies’ “Beechwood Park” and “Sunday Morning,” by the Velvet Underground . It was a perfect fit — songs about commitment and loss, written and sung by the wounded. Beck didn’t play any Dylan , but he didn’t have to. As a young folk singer at the turn of the Nineties, Beck set out to be his own Dylan. With Sea Change , he has made it the hard way, creating an impeccable album of truth and light from the end of love. This is his Blood on the Tracks .

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Let the Golden Age Begin: Beck’s Sea Change at 20

How a broken-hearted Mr. Hansen expressed himself pastorally

By 2002, Beck had been a man of many guises, starting with the laconic fellow who mixed stoner folk with hip-hop on Mellow Gold.

That album yielded “Loser”, an indelible slacker anthem and surprise hit that wouldn’t have surprised a lot of folks if it had led to “Where Are They Now?” stories years later.

Two years and a producer change partway through recording later, the sample-happy, everything-but-the-kitchen sink hipster of Odelay arrived. Full of a constant state of exploration and its share of alternative earworms, it went double platinum. Indeed, Beck wasn’t going to be joining the likes of Lou Bega and Marcy Playground in One Hit Wonderland.

Beck shifted into the retrenching craftsman of 1998’s Mutations and the pastiche-loving hip-hop and soul prankster of dubious sincerity in the following year’s Midnite Vultures.

Nobody knew what was coming from him next, only that his track record indicated it would be something different than its predecessor.

When Sea Change arrived 20 years ago this past weekend, listeners got their first look at the latest iteration– Beck with a broken heart.

After a nine-year relationship with his fiancée Leigh Limon came to an end in 2000, Beck channeled his emotions into song. He promptly shelved the material he’d written, feeling it was too personal. Whether it was his artistic instincts or enough time had passed since the breakup, he decided there was enough universality in what he’d written that he could be less guarded than usual.

He went back to Nigel Godrich, who’d produced Mutations. The album started with the intent of being in that vein. But that quickly changed as Sea Change became lusher (with string arrangements by Beck’s father David Campbell) with more of a middle of the night in Laurel Canyon vibe.

Odelay was a brilliant, fun album, but one could never say it was deeply personal. Seven years later, this was a whole new Beck.

Gone were lyrics like “Silver foxes looking for romance/In their chainsmoke Kansas flashdance ass-pants”, replaced by a much more direct creator. It was a songwriting perspective he’d danced around before, but felt didn’t fit prior albums. This was a creative challenge he took to his broken heart, to avoid the ironic wordplay and stick to emotions.

His voice practically echoes through the canyons on “The Golden Age”. The guitars gently strum. Backing vocals drift in as do the hints of noise that suggest he was familiar with Godrich’s work on Radiohead’s OK Computer.

“Guess I’m Doing Fine” offers weary resignation with a lovely country rock flavor through the alone-at-3-AM haze.

VIDEO: Beck “Lost Cause”

“Lost Cause” ditches the echo and pedal steel for sad low-key pop that’s either self-recrimination or tired kiss-off, depending on how it hits you.

The strings carry “Lonesome Tears”, along with the emotional chorus. There’s a warmth to the sadness here, showing how Sea Change avoided the pitfall of moroseness for its own sake. Even if he wasn’t in the best place emotionally in writing it, he was comfortably bummed.

The album is too well-crafted and relatable to be a slog. Yet it also wasn’t obsessively labored over, recorded in just three weeks.

It also doesn’t hurt that Beck, as focused as he was, kept things varied. Take the psycheledic touches of “Sunday Sun” and “Little One”, the former more British and the latter more immediate.

“Paper Tiger” starts off as a downbeat, more held-together version of his early material, only to have soaring strings blow their way through, enabling the song to float easily along its groove.

“Lonesome Tears” pulls a similar trick in service of a sticky, pained chorus. The man who tossed off asides like “get crazy with the Cheese Wiz” less than a decade earlier had clearly been going through some things.

VIDEO: Beck “The Golden Age”

a”End of the Day” channels 70s singer-songwriter vibes. And speaking of ’70s singer-songwriters, “Round the Bend”, one of Sea Change’s highlights, shows that Beck clearly has an affection for Nick Drake. Beautifully orchestral, it feels like it belongs over a dialogue-free scene with the romantically bereft protagonist just before the third act kicks in.

“Side of the Road” is the low-key coda, in which the resignation has fully taken hold.

“Ship in a Bottle”, sadly, didn’t make the cut, appearing on the Japanese release of the album and on a later reissue. It’s a lovely pop tune, perhaps left off because it was just a touch more immediate. Or perhaps it was felt the album would be too long with it.

The creative experience of making the melancholy masterpiece Sea Change was a positive one for Beck, who wanted to continue in that style for his next album, which would have been a first.

I say “would have been” because a thief who never got caught had other ideas. Beck had written about 35 songs post-Sea Change. He kept the tapes in a suitcase, which was stolen backstage during a solo show in Washington D.C. and never found.

“I was so disheartened by that, and felt bereft of these two years of songwriting that I had done,” he told Pitchfork in 2011. “Those were songs I worked particularly hard on, and I felt like I really had something with them. I could remember the music to about three or four of them, and a couple lines here or there, but most of them were just on those tapes. They were fairly complex songs, and much more involved, technically, on the guitar, than anything I’d done. So, for a year after that, I didn’t write any songs.”

Instead, he went back to style shifting, reuniting with Odelay producers the Dust Brothers to finish an album they’d started back then, which became 2004’s Guero.

It took until 2014 for him to revisit where he’d gone on Sea Change. Morning Phase was a reunion of nearly all of its predecessors’ contributors, with the exception of Godrich, as Beck self-produced it. While not written after a breakup (he was a married father at the time), it mined similar territory. If it feels at times like Sea Change Jr. (albeit with fewer strings), it’s still well-crafted and leavens the heartbreak with a greater dose of hope. 

Sea Change still connects the deepest of any of his excursions into this territory. It’s a beautiful downer that showed just how engaging Beck could remain when the mask dropped.

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Average setlist for tour: Sea Change

Note: only considered 31 of 32 setlists (ignored empty and strikingly short setlists)

• Loser Play Video
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• Do You Realize?? ( The Flaming Lips  cover) Play Video
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Beck Hansen (born Bek David Campbell, July 8, 1970) is an American musician, singer-songwriter, and multi-instrumentalist. Beck’s music is known for its pop-junk culture collage…

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Beck Hansen (born Bek David Campbell, July 8, 1970) is an American musician, singer-songwriter, and multi-instrumentalist. Beck’s music is known for its pop-junk culture collage of musical styles, ironic lyrics, samples, drum machines, live instrumentation and heady sound effects.

Beck was born in Los Angeles, California, to David Campbell (a musician and son of a Presbyterian minister) and Bibbe Hansen (a former dancer for The Velvet Underground, founding member of the satirical band Black Fag, and visual artist). When his parents separated, Beck stayed with his mother and brother in Los Angeles, where he was influenced by that city’s diverse musical offerings—everything from hip-hop to latin music—and his mother’s art scene – all of which would later reappear in his recorded and published work.

Although Beck’s work defies easy description, his eclecticism and genre experiments have sparked comparisons with Prince, though Beck was undoubtedly a less prolific artist, and drew on an absurdist, free-flowing lyrical style totally original when first exposed to mainstream audiences (indeed, some critics labeled him and his breakthrough single Loser as novelties – see below). Despite this individualism, Beck’s music was very much a product of the 90s and the media age in general, with hip hop, indie/underground rock, electronic music and genre-benders like the Beastie Boys as notable touchstones; in addition, some critics could not resist likening his head-spinning lyrical aesthetic to a post-modern Bob Dylan sensibility.

After dropping out of high school in the mid-1980s, Beck educated himself and traveled widely. In Germany, he spent time with his grandfather, fluxus artist Al Hansen. His artistic relationship with his grandfather may have influenced both his album art and sense of musical collage. He began the musical activity in 1988. The late-80’s found him in New York City as part of the punk-influenced anti-folk music movement.

Beck returned to Los Angeles at the turn of the decade, destitute but motivated. During this time, Beck sought out (or snuck onto) stages at venues all over Los Angeles, from punk clubs to coffee shops. Some of his earliest and most thought-provoking recordings were achieved by working with Tom Grimley at Poop Alley Studios, a part of WIN Records.

In this atmosphere of heady creativity the founders of Bong Load Custom Records discovered Beck. Their 1993 12″ vinyl Loser, from an initial run of 530 copies, created a sensation on college and alternative radio that led to a furious bidding war between labels to sign Beck. Eventually, he chose Geffen Records, who offered him terms that included an allowance for the release of independent albums while under contract (he may have owed Bong Load another album or two).

In 1994, Geffen’s official debut release of Mellow Gold made Beck a mainstream smash success; it also led to his iconic status as the “slacker” representative of the alternative rock scene, although the title of the song had been ironic.

At the same time, he released Stereopathetic Soulmanure on Flipside Records and One Foot in the Grave on independent K Records. Beck took his act on the road with the 1995 Lollapalooza tour. Still, some critics panned him as a one-hit wonder. Audiences’ (especially at Lollapalooza) familiarity with Loser only, and their general disinterest in his other work only reinforced his image as a one-hit wonder. It’s been said said that Beck released Stereopathetic Soulmanure and One Foot in the Grave to shake the Gen X-ers that associated themselves with him and made “Loser” their slacker anthem.

The one-hit wonder label was put to rest with the release of 1996’s Odelay, a collaborative effort with The Dust Brothers, producers of Paul’s Boutique. The lead single, “Where It’s At”, received heavy airplay and its video was in constant rotation on MTV. Within the year, Odelay had received perfect reviews in Rolling Stone and Spin magazines, having been listed on countless “Best of” lists (it topped the Pazz & Jop Critics Poll for ‘Album of the Year’), receiving double-platinum status, and earning an impressive number of industry awards, including two Grammys.

Odelay was followed in 1998 by Mutations. Produced by Nigel Godrich of Radiohead fame, it was intended as a stopgap measure before the next album proper. Recorded over two weeks, during which Beck recorded one song a day, the sessions produced 14 songs. Mutations was a departure from the electronic density of Odelay, and was filled with folk and blues influences. Songs on the album consisted of older tracks, some even dating back as far as 1994.

In 1999, Geffen released the much-anticipated Midnite Vultures, an orgy of sexual and culinary innuendo supported by a world tour. For Beck, it was a return to the high-energy performances that had been his trademark as far back as Lollapalooza.

After Midnite Vultures came Sea Change in 2002, another airy and emotional album with producer Nigel Godrich, which became Beck’s first U.S. Top 10 album, reaching # 8. Sea Change was conceptualized as an album with one unifying theme—the stages following the end of a relationship. The album also featured string arrangements by Beck’s father and a sonically dense mix reminiscient of Mutations. The Sea Change tour featured The Flaming Lips as Beck’s opening and backing band.

In September 2003, Beck returned to the studio to work on his sixth major-label album. Guero was produced by the Dust Brothers and Tony Hoffer and features a collaboration with Jack White of The White Stripes; it marked a return to Odelay-era sound. The album was released in March of 2005 and despite critical acclaim, the album received a more lackluster response from Beck’s indie-oriented fanbase.

Beck married Marissa Ribisi in April 2004, shortly before the birth of their son, Cosimo Henri Hansen. 2004 also saw the release of “10 Years of Mellow Gold,” a short documentary about Beck’s first album.

Beck’s next album, The Information was released on October 3, 2006. It is a largely electronic and ambient, filled with blips and beeps. It was produced by Nigel Godrich, who worked on “Sea Change” and a longtime Radiohead and Thom Yorke producer. The first single was Nausea, an acoustic rock hip hop song. The next single was Cellphone’s Dead, and the third single was Think I’m In Love.

His next single, Timebomb, was released on iTunes on August 21, 2007, and the limited edition vinyl 12″ was released on November 2, 2007, with an instrumental version of the song on the B-side. In December, 2007, it was announced that Timebomb had been nominated for a Grammy in the category of Best Solo Rock Vocal Performance.

Modern Guilt was the eighth studio album by Beck. It was released on July 8, 2008. The album fulfilled Beck’s recording contract with Interscope Records. Outside of North America, the record was released by XL Recordings. Its three singles were Chemtrails, Gamma Ray, and Youthless.

Modern Guilt features two contributions by Cat Power and was produced by Beck and Danger Mouse.

The album entered both the Billboard 200 and the Canadian Albums Chart at number four, and gave Beck his first ever Top 10 placing on the UK Albums Chart, peaking at number nine. The album has also been Beck’s best charting album in Australia, reaching 13. It sold 84,000 copies in its first week. Although successful, this does not match the first week sales of The Information, which were 99,000. In December 2008, Modern Guilt was nominated for Best Alternative Album at the 51st Grammy Awards.

Song Reader, a project Beck released in December 2012, is 20 songs presented only as sheet music, in the hopes that enterprising musicians will record their own versions. The idea of Song Reader came about nearly fifteen years prior, shortly after the release of Odelay. When sent a book of transcribed sheet music for that album, Beck decided to play through it and grew interested in the world before recorded sound. He aimed to keep the arrangements as open as possible, to re-create the simplicity of the standards, and became preoccupied with creating only pieces that could fit within the Great American Songbook. In 2013 Beck began playing special Song Reader concerts with a variety of guests and announced he was working on a record of Song Reader material with other musicians as well as possibly a compilation of fan versions.

In the summer of 2013, Beck was reported to be working on two new studio albums: one a more self-contained acoustic disc in the vein of One Foot in the Grave and another described as a “proper follow-up” to Modern Guilt. Beck expects to release both albums independently. He released two standalone singles over the course of the summer: the electro ballad Defriended and the chorus-heavy I Won’t Be Long. A third single, Gimme, appeared on September 17.

In October 2013, it was announced that Beck signed to Capitol Records. Beck released his twelfth studio album entitled Morning Phase on 21 February 2014. For the recording of Morning Phase, Beck reunited with many of the same musicians with whom he had worked on the critically acclaimed 2002 album Sea Change. On January 20, 2014, the album’s first single Blue Moon was released. Beck released the second single, Waking Light, on February 4, 2014

2) BECK can refer to a fictional rock band from the Japanese Anime series BECK: Mongolian Chop Squad. The fictional BECK’s songs feature in the BECK Original Sound Track. BECK’s style and members are highly influenced by various different artists. From vocals in the style of Zack De La Rocha from Rage Against the Machine, guitar influenced by Tom Morello of the same band, the band is highly influenced by rap-rock.

As the series develops, other influence appear, including guitar in the style of Led Zeppelin’s Jimmy Page, and Red Hot Chili Peppers John Frusciante. During the series, the band covers a famous The Beatles song, ‘I’ve got a Feeling’. The name BECK could have possibly been influenced by the first artist Beck, mentioned above. Harold Sakushi, the original author of the series, has confirmed that BECK is generally based around the Red Hot Chili Peppers, being his favourite band. Read more on Last.fm . User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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