Patti Smith performing for the Tibet House Benefit at Carnegie Hall, February 5, 2000, photo by Glenn Emerstone, © 2000 NY Rock

Countering the raucous China bashing of Beastie Boy Adam Yauch's annual summer outing, benefit organizer Philip Glass offered up the sedate for the world/folk/punk beatnik and Phish set intent on a good time without the fiery political rhetoric, rants and hardcore beats of the Beasties alternative nation.

Taking turns at the helm and sharing the spotlight in a mixed bag of collaborative and solo performances, Philip Glass, ex-Talking Head David Byrne and Phish guitarist Trey Anastasio united forces from the East and the West in a round of musical chairs.

Anjelique Kidjo and Virginia Rodriquez from Brazil put on fiery vocal performances beyond the confines of the traditional. Whereas Kidjo's charismatic approach to West African pop was dynamic, Rodriquez's was ethereal and operatic with enough range and might to shatter glass. Adding to this were the riffs-towards-the-heavens of Nawang Khechog and R. Carlos Nakai on Tibetan and Native American flutes, conjuring up images of birds in flight.

Trey Anastasio performing for the Tibet House Benefit at Carnegie Hall, February 5, 2000, photo by Glenn Emerstone, © 2000 NY Rock

The evening, however, truly belonged to Trey Anastasio whose following was by far the most vocal and boisterous. In a hall where passing gas creates echoed tremors, the calls for "Trey" were annoying at first but added spirit and life to an event attended by everyone from the tuxedoed to the tie-dyed.

Joined by David Byrne on accordion for the Tom Waits tune, "House Where Nobody Lives," and Philip Glass on the beautiful and inspired "3rd Street," Anastasio proved that he is more than just your average guitar hack and Jerry Garcia clone.

Plaintive and provocative, Patti Smith excerpted Allen Ginzberg's "Howl" and closed with the anthemic "People Got the Power." Steady and somber, the Beat goddess of punk sent her guttural vibrato straight to the rafters and back, like a kick to the cock of the Chinese government.

As benefits go, the cause was supreme. For the mellowed new-age hippy crowd, the setting and music were divine. For the oppressed Tibetan people struggling for cultural survival in the face of Chinese occupation, the plea was immediate: Free Tibet.

February 2000