By CB Adams
It must have been a challenge trying to fill the Stifel Theater on April 5 for a program with the St. Louis Symphony and guest conductor Ward Stare playing backup band to The Music of R.E.M. Die-hard symphony goers might have resisted a hybrid program of orchestral interpretations of R.E.M. songs and the “Concerto for Violin, Rock Band and String Orchestra” by the band’s bassist, Mike Mills.

The program might have been overshadowed by the reputation of R.E.M., one of the most influential rock bands from the early 1980s to the early aughts, known for their melodic-yet-enigmatic sound, poetic lyrics and the distinctive vocals of frontman Michael Stipe.

On the other side of the spectrum die-hard R.E.M. fans who want nothing less than the band to reunite (good luck with that), might have resisted the program for softening and diluting R.E.M.’s potent oeuvre. Despite the challenges of such perceptions or expectations, St. Louisans delivered a respectable showing while the symphony Mills delivered a satisfying experience that beautifully integrated rock elements into classical structures.

The first half of the performance were two sets of “Orchestral Reconstructions” of R.E.M. songs by composers Carl Marsh and David Mallamud. It is these two composers who deserve the kudos for this portion of the program – come for the R.E.M., stay for Marsh, Mallamud and the SLSO.

Emphasizing a desire for originality, Mills expressed his preference for orchestral pieces that incorporated R.E.M. melodies in innovative ways rather than relying on conventional symphonic embellishments. And that’s exactly what was most interesting and intriguing about these works.

Other than the occasional recognizable phrase, they weren’t really recognizable as R.E.M. songs. Even if you knew nothing of R.E.M., these reconstructions stand alone as enjoyable experiences. For instance, you wouldn’t miss Stipe’s plaintive howl in “Cuyahoga” even if you knew the song – that’s how differently distinctive Marsh’s interpretation is.

Mills and McDuffie in concert with Winston-Salem Orchestra. J Farley Photography.

Several years ago, Mills approached Marsh with a commission, inviting him to “deconstruct” several R.E.M. songs (a mix of hits and personal favorites) and create new orchestral compositions from their elements. Marsh is known for his eclectic blend of classical orchestration and contemporary electronic elements, crafting immersive soundscapes that traverse genres with depth and innovation.

Mills tasked Marsh deconstructing five R.E.M. songs: “Pilgrimage” from Murmur (1983), “Cuyahoga” from Life;s Rich Pageant (1986), “Near Wild Heaven” from Out of Time (1991), and “Try Not To Breathe” and “Everybody Hurts” from Automatic for the People (1992). Marsh’s approach to “Everybody Hurts,” R.E.M.’s iconic song, involved exploring variations of the dominant piano line’s triplet patterns.

To complement Marsh’s contributions, Mills enlisted David Mallamud, a renowned composer and arranger, to deconstruct another set of R.E.M. songs. Mallamud’s selections included “Fall on Me” from Life’s Rich Pageant (1986), “It’s the End of the World as We Know It (and I Feel Fine)” and “The One I Love” from Document (1987), “Find the River” and “Man on the Moon” from Automatic for the People
(1992), and “Supernatural Superserious” from Accelerate (2008).

Mallamud’s approach differed from Marsh’s, resulting in a single long suite composed of his six deconstructed pieces that began that flowed from the Intro and Bargaining through Denial, Anger, Depression and Acceptance. All interpretations were strong, but the last song, a jaunty “It’s The End of the World As We Know It” was the clear crowd-pleaser.

The second half of the performance featured Mill’s own “Concerto for Violin, Rock Band, and Orchestra,” which is a hybrid of a song suite and a true concerto. The piece is a collaboration between Mills and lifelong friend and violin virtuoso Robert McDuffie, who is known for his appearances with prestigious ensembles like the New York and London Philharmonic Orchestras.

Debuting in 2016, the concerto has been performed a dozen times and explores a unique fusion of rock and classical elements. Unlike previous attempts at blending these genres, the concerto stands out for its focus on melody, effectively marrying the raw energy of rock with the sophistication of a string ensemble.

Divided into six sections, the concerto resembles more of a diverse suite than a cohesive violin-centric composition. Notably, the orchestration and additional music contributions from David Mallamud underscore the collaborative nature of the piece. As you might expect, the rock influence predominated during this performance, with Mills assuming his role on bass alongside McDuffie, William Tonks on guitar and Gerry Hansen on drums.

Unlike previous attempts at blending these genres, the concerto stands out for its focus on melody, effectively marrying the raw energy of rock with the sophistication of a string ensemble. This was most evident in “Stardancer’s Waltz,” during which McDuffie fully explored a variety of riffs that could make the tune an enduring standard.

Mills in concert at another hall with this touring show.

He showcased remarkable confidence and strength in his rendition of melody lines and demonstrated mastery in precision, fluidity and speed. He also displayed skills that would challenge even the most adept electric guitarists, which contributed immensely to the success of this hybrid concerto.

Another crowd-pleaser was “A Little Nightswimming,” a poignant, piano-driven track from R.E.M.’s acclaimed 1992 album, Automatic For The People – and a personal favorite. “Nightswimming,” is one of the best songwriting achievements that Mills made with R.E.M. and the concerto’s version was a beautiful, graceful duet between Mills and McDuffie.

For those who took a chance on the SLSO’s R.E.M. performance (let’s call ourselves shiny, happy people), the experience demonstrated that the mutability of music is a big tent that can accommodate hybridizations among genres. After all, classical composers from Bartók and Dvořák to Copland and Williams have drawn folk songs and popular music, infusing classical compositions with the rich cultural
tapestry of their respective regions. And you can add Mills to that list.

R.E.M. co-founder Mike Mills, violinist Robert McDuffie, and a rock band join the orchestra for performances of Mills’ Concerto for Violin, Rock Band, and Orchestra; concert opens with symphonic arrangements of R.E.M. hits

The St. Louis Symphony Orchestra has announced a one-night-only symphonic tribute to the music of R.E.M., the award-winning American rock band. Mike Mills, R.E.M. co-founder and bassist, joins the orchestra in the second half of the concert for a performance of his new Concerto for Violin, Rock Band, and Orchestra, with celebrated violinist Robert McDuffie, who collaborates with the SLSO for the first time in more than 20 years. The concert is 7:30pm, Friday, April 5, at the Stifel Theatre in downtown St. Louis.

Tickets starting at $45 are on sale now and may be purchased at or by calling the Box Office at 314-534-1700.

R.E.M. Explored
Friday, April 5, 2024, 7:30 pm
Stifel Theatre 
1400 Market Street, St. Louis, Missouri, 63103 

Ward Stare, conductor
Mike Mills | bass, piano, and guitar
Robert McDuffie, violin
Gerry Hansen, drums
John Neff, guitar
William Tonks, guitar
Note: This concert does not feature vocalists.

R.E.M. Co-Founder Mike Mills and Robert McDuffie in “R.E.M. Explored” with Winston-Salem Symphony. J Farley Photography

The SLSO explores some of the greatest hits of R.E.M.—the Grammy Award-winning American rock band hailing from Georgia—in newly reimagined orchestrations of the band’s legendary catalogue. The orchestra performs many of R.E.M.’s chart toppers including “It’s the End of the World As We Know It,” “Man on the Moon,” and “Everybody Hurts.” Then, Mike Mills—R.E.M. co-founder, singer-songwriter, and bassist—joins the SLSO for performances of his eponymous Concerto for Violin, Rock Band, and Orchestra, a synthesis of his rock background fused with symphonic form that also draws partially from the band’s catalogue, including the 1993 song “Nightswimming.” Grammy-nominated violinist Robert McDuffie joins Mills and a rock band for the St. Louis premiere of this concerto.

About the St. Louis Symphony Orchestra

Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 144th year with the 2023/2024 season and its fifth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music. 

The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit

Concerto for Violin and Rock Band. Photo J. Farley Photography

By Lynn Venhaus

A gentle outlook on family dynamics and how adults communicate with children, “C’mon C’mon” takes the road less traveled approach. It has something to say and achieves that with uncommon simplicity and openness.

Johnny (Joaquin Phoenix), a radio journalist, is traveling across the country to interview children for an assignment. He stops in Detroit and New Orleans and asks kids about what they think about the future – their fears, expectations, and outlook.

While in L.A., he visits his sister, Viv (Gaby Hoffmann), and spends time with his precocious 9-year-old nephew Jesse (Woody Norman). He and the deeply inquisitive Jesse bond, and they return to his home in NYC together, at a time where the boy’s devoted mother needs to be with his father Phil (Scoot McNairy), who is not well.

Working in stark contrasting black-and-white with cinematographer Robbie Ryan (Oscar nominee for “The Favourite”), writer-director Mike Mills captures distinctive geographic landscapes that allows more focus on intimate interactions in day-to-day living.

This is not an ordinary look at our contemporary world, nor is it typical in its displays of major metropolitan cities. With his keen eye, Mills establishes a rhythm that lets us see things differently, opens the audience to various possibilities – but stays within a narrow framework.

Think of this like chapters in folklore or a fable, sometimes meandering, often illuminating, but the earnest characters are always learning and striving towards understanding.

You get a sense that one day, the relentlessly curious Jesse may write a memoir recalling a most memorable time – a sort of “Travels with My Uncle” from his generational viewpoint. But for now, it’s what appears to be a collection of daily engagements: selecting a toothbrush without audio stimulation, not being able to sleep, mom reading “The Wizard of Oz” to him over the phone and eating a slice of pizza at a neighborhood joint.

The cast excels at its depiction of family ties. In a demonstrative departure, Joaquin Phoenix’s first role since his Oscar-winning turn in the dark and disturbing “Joker” in 2019, finds him softer and squishier, with a scruffy beard and shaggy hair. As Johnny, a bachelor without a significant other or children, Johnny cares about his family and is dedicated to the documentaries he works on but has settled into a mundane routine. Having a child to care for disrupts that — but also provides those teachable moments that propel youth forward. (And also makes a mark on the adult forced to open up).

Phoenix, a new father in real life, and guileless child actor Woody Norman, who has worked in mostly British TV, present an evolving human relationship that unfolds naturally. Norman’s performance is revealing, and Phoenix shows a completely different side of his nature. They are both acting, of course, only it doesn’t look or feel like it.

Gabby Hoffmann, a child actress (“Field of Dreams,” “Sleepless in Seattle”) who grew into a formidable adult artist (Emmy nominated for “Transparent” and “Girls”), plays a responsible adult trying to raise a decent human being, and having all the doubts and anxiety that goes with those choices and decisions. Like the rest of the cast, she gives an engaging lived-in portrayal.

The scenes recording the thoughts of school children provides yet another perspective from diverse voices. Nobody’s life is static, after all, and what they say offers a different slant.

The film’s score is also noteworthy for its interesting mix of synthesizer and classic music pieces. Composers Aaron and Bryce Dessner are known professionally as part of The National, an indie alternative rock band that’s been around for two decades.

Specific in the details he wrote about, Mills has presented an insightful look at life – it may seem slight, and that not much happens, but look closer — you will find pieces of your loved ones and your own journey that will resonate.

Kids are hard work to raise. We don’t match their energy and our senses of wonder and joy are rekindled in their company because they look at life with fresh pairs of eyes. They can be tiring and frustrating – just like we are to them. But they teach us more than we teach them, give us a purpose, and increase our capacity to love ten-fold.

“C’mon C’mon” is not the same-old, same-old. It’s a jagged atmospheric little slice of life that will open your heart and deepen your connection to the people in your world.

“Cmon C’mon” is a 2021 drama written and directed by Mike Mills. It stars Joaquin Phoenix, Woody Norman, Gaby Hoffmann and Scoot McNairy. It is rated R for language and runs 1 hour, 48 minutes. It is in select theaters on Nov. 24 and premiered locally at the St. Louis International Film Festival on Nov. 7. Lynn’s Grade: B+.