As promised (?), I'm sticking to a more normal and perhaps even consistent concert schedule these days with my second show in a row -- not only in town, but also at the Fillmore and with an out-of-town visitor, no less. This time, it was the triple bill of, er, Of Montreal, Deerhoof, and Kishi Bashi.
Of Montreal, the Fillmore, March 22, 2012: I really shouldn't wait a week to write these things, but even if I had managed to commit my immediate reactions to this blog, it wouldn't have been the most enlightening account. Truth be told, I haven't been following Of Montreal very closely since their association with that dude in Los Angeles has cooled down. But the glimpses I've seen of the band were intriguing, and combined with the appealing openers, the legendary venue, and a willing houseguest, I figured I might as well go to the show.
My Of Montreal ignorance didn't prevent me from enjoying the spectacle of the show. The Fillmore is nowhere as big as the Fox, where I last saw the band, but they managed to fit everyone and their instruments, while still allowing room for the extracurricular aspects of their act. It also made me wonder how they squeezed in at the Slim's show the night before!
This tour's accessories included several screens set in front of each band member's station, and a couple more at the back of the stage for video projections. Later, the band's roster of dancers/actors joined them for their choreographed moves and interactions. Early in the show, they released balloon-filled bags to the audience, though only after striking their poses as human billboards at the front of the stage for a good stretch. As the show progressed, these auxiliary players changed costumes, and toward the end of the evening, they enacted a small drama between two pig-faced villains and a pansexual being. (Man, I'm good at sucking the fun out of a concert.) Oh, they crowdsurfed too.
As for the music, I'm pretty sure I've mentioned before that you can easily rattle off a list of the band's influences -- but it doesn't matter when they manage to make it their own to such a degree. In a way, they remind me a lot more of the British bands I've liked rather than their American counterparts; then again, maybe I've been listening to the wrong U.S. musicians. In any case, I loved the nod to New Order, as Kevin Barnes dropped a couple of lines from "Temptation" into a song.
I may have been too overwhelmed by the party atmosphere last time to notice the darker and more introspective aspect of their music, but I couldn't miss them tonight. There were a couple of slow burners, but the one that made the biggest impression on me was "No Conclusion," marked by the unforgettable opening line "Tonight I feel like I should just destroy myself." Throughout much of the evening, I was trying to pinpoint exactly how Kevin Barnes and crew cast its spell on their young acolytes. Of course, it's easy to fall for the fun times, but you also have to dig into their lyrics, where Kevin expresses in no plain English many of same feelings, with the same passion as his listeners. From our vantage upstairs at the Fillmore, the fans ate it up.
Still, the introspection couldn't overshadow the buoyant encore in which they strung together a bunch of their most upbeat songs (I recognized "Gallery Piece"!). It's one of the oldest rules in show biz: Leave 'em wanting more. Of Montreal certainly did.
I first saw Deerhoof at the Sonic Youth-curated version of All Tomorrow's Parties at UCLA in 2002. Maybe I'll admit to more of my shortsightedness at this festival in future posts, but I can confess Deerhoof didn't make a good impression on me at that show. Since then, Deerhoof has been all over the place, and they've even nurtured a relationship with that band I love.
Unbeknownst to me, they've been rocking it out too! The guy seated behind us compared Greg Saunier to a Muppet, based on his propulsive drumming moves. I fully endorse that comment, but their guitarwork was nothing to scoff at either. I've been a fool to miss them for all this time, especially considering their local base, and I won't make that mistake again. Also, their shout-outs to both the Fillmore and to Of Montreal were adorable.
The very first performer of the evening was Kishi Bashi, another local talent who also happened to show up again in Of Montreal. At first, he gave off a strong Andrew Bird vibe, with his use of the violin and loopers, as well as an operatic scope to his songs. But when he started beatboxing, you knew that you should've checked your expectations earlier.
» really quite out of sight
» first-time high
» everybody's gotta learn sometimes
» still carries a torch