A Tale Of Two Singers: Derek Webb & Kevin Max – Live At The Viper Room

There were two albums released around the mid 90’s that completely floored me as a fan of contemporary Christian music – Caedmon’s Call’s self titled debut and dc Talk’s Jesus Freak. Put into perspective, Caedemon’s Call’s cover of Rich Mullin’s “Hope to Carry On” sort of represented a passing of the guard, ushering in a band embraced by the college scene, but with new voices that were accompanied by an acoustic army of guitars and banjos. It was gospel, but it was also Americana before anyone was singing the praises of Sufjan Stevens. Tipping its hat to the forerunners like Mullins but reintroducing a spirit like nothing we had heard. This coupled with the anthem of dcTalk’s “Jesus Freak,” which in its own right redefined a band that in turn rocked the faces off of thousands of arena flocking fans. These bands had suddenly given the entire industry the kind of credibility it had also never seen before. Long gone were the bubblegum poppy images of Christian music’s past and enter the new brood of edgy bleeding hearts. In short, these bands released two albums that literally flipped the Christian music business on its side and screamed of a new revolution that was coming. But things change; it wasn’t long after dcTalk’s meteoric rise that they imploded and Toby Mckeehan, Michael Tait and Kevin Max embarked on solo careers. Caedemon’s Call soldiered on, eventually losing Derek Webb to a solo career himself – though his leaving was rumored to be much more amicable. Regardless, that was then and this is now. The music scene has changed and admittedly, the Christian music scene has seen its better days.

So fast forward with me fifteen years, will you? Next stop, the Kevin Max and Derek Webb concert at Viper Room in Hollywood, CA. These days, Christian music has become anemic. I even have friends that were once devoted listeners who have now turned their back on the new machine that spits out cookie cutter copycats and music imposters that clutter the scene. Re-enter Derek Webb who is currently at the forefront of new controversies and possibly a new revolution that circles around the idea of extending *gasp* compassion towards the homosexual community. But this might be the kick to the groin that the church needs. It’s certainly an issue that Derek isn’t afraid to lend his boot. But that’s also one of the things that makes Derek Webb so cool. That and he’s not afraid to sing the word, “shit” when addressing his problems with “church” as usual. These problems within our culture are as eye opening as the song, “Black Eye” that kicked off the show in the dimly lit Viper Room. His latest album Stockholm Syndrome is quickly turning into his new battle cry and is an invitation for the progressive thinkers that aren’t afraid to ask questions. We need this – sonically it is as fresh as the dissonant sounds that emanate from the sample machine that eventually plays the shocking “What Matters to You.” Leave it to our community to fixate on the wrong part of the song (one word in particular) and miss the heart of the message.

‘cause if you really believed
what you say you believe
you wouldn’t be so damned reckless
with the words you speak

Derek’s set felt like he was scratching and clawing for every minute on stage. Even as the technicians nearly cut the set short by ten minutes, Derek passionately reminded them that he wasn’t finished. Getting his wish, he crammed in as much as he could in those last ten minutes to close with “Wedding Dress” – a sobering reminder that what we see in the mirror is not pretty. Nor should it be since,

i am a whore i do confess
but i put you on just like a wedding dress
and i run down the aisle
i’m a prodigal with no way home
but i put you on just like a ring of gold
and i run down the aisle to you

As he finished, Derek Webb came across as a tatted up warrior with a battle cry for compassion giving me much food for thought. I was excited. Even as the curtain closed, I was already looking forward to the evolution of Kevin Max.

I’m ashamed to admit this, but when the curtain did finally open, I wanted to know why nobody told me that Bob Carlisle had taken Kevin’s place. Ironic, considering K-Max had, only a few short years ago, released an album entitled The Imposter. I felt duped. Now this isn’t to say that I didn’t quickly forgive him for gaining a few pounds. I was just in shock. And to be fair, Kevin Max can still sing. His voice is still golden. But all of the things that made Derek Webb cool were all of the things I found uncool about Kevin Max. It wasn’t that Kevin Max didn’t have an attitude to accompany his talent. But it was an attitude without the swagger. Almost as though the same attitude that made him resemble Jim Morrison at twenty-five, just felt less true and made him look more like an asshole at forty. Especially as he told an audience member to “shut up” after they jokingly requested a Kanye West song. Kevin Max was in the room, he just wasn’t embracing the crowd and it felt like an uncomfortable disconnect. Where Derek Webb seemed to fight for ten more minutes, it felt like K-Max couldn’t wait to leave in order to start St. Patty’s day. Where the cursing seemed to have a point in a Derek Webb song, Kevin Max’s knocking off of the “fuck word” in referencing Derek Webb’s no fear approach to language fell flat. Even by his own admission it felt like the word had no meaning or impact, like it was a throw away compliment to his co-headliner. So by the end of the show, closing with a Smiths tune, I felt like what I was watching was an older and tired performer that couldn’t wait to leave – and leave he did without even a nod. I was disappointed.

It was a night of two singers – two paths with two road tested (and maybe one of them road weary) travelers that seemed to have gone in opposite directions since leaving the super groups of their past. For me the night was bittersweet. I was pulling for both of them. I still am. Maybe I’m still hoping that I got Kevin Max on a bad night when he unapologetically showed up as a pretender to the throne showing us his worst Elvis impersonation. That’s my hope. Or maybe that’s just how it looked because Derek Webb was just going to blow away everyone else who was doomed to follow him on stage. Maybe that’s it too.