![]() Metheny began the show solo, playing a custom-built monster of a harp/guitar called the “Pikasso,” presumably because its multiple necks, two sound holes and wealth of criss-crossing strings make it resemble a Cubist painting (or an AI-generated image that went overboard). Live, it’s a different story, that smoothness showing all sorts of precisely defined, oddly contoured and unexpected edges, while Metheny’s elastic fervor - which can read as cheese to the uninitiated - fills a room with a boundlessly confident, even forceful authority. ![]() Limpid and silky, it can often seem sanded down - “too smooth,” as many detractors argue - in the studio, overly processed both in the sonic and the culinary sense. The surroundings were mildly opulent without being fussy, boasted a capacious stage for Metheny’s impressive wealth of keyboards, guitars and homemade instruments (more on those later) and, most importantly, pristine acoustics that allowed the nearly full house to hear the nuances of every note with razor-sharp clarity.Īnd about that tone while Metheny’s many excellent albums capture his exuberant skill, eclectic influences and complex moods, they don’t, it turns out, do justice to the way his guitar actually sounds. Playing for the first time in the Muriel Kauffman Theatre, a surprisingly intimate 1,800-person room that opened, along with the rest of the performing arts center in which it’s housed, in 2011, Pat Metheny had a space ideally suited for his famously buttery tone. Kauffman Center for the Performing Arts, Kansas City, MO
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