Posts Tagged ‘Manchester’

THE POSTAL SERVICE – Manchester Academy, 18/05/2013

June 4, 2013

The standard hubbub of pre-gig chatter at tonight’s gig is even more excitable than usual, no doubt owing to the fact that tonight’s audience have been listening to The Postal Service’s sole album for a decade, with little sign of a follow-up or live performance. But when the familiar electronic pulse of ‘The District Sleeps Alone Tonight’ kicks in, that anticipation dissolves into pure joy, and everyone swiftly loosens up. Tonight is most assuredly going to be a party.

Those 10 years certainly become apparent – Jimmy Tamborello’s array of bleeps, whirrs and clicks sound curiously timid in a world still gripped by dubstep’s thudding bass.

But for all that, it’s fascinating how warm those songs still sound. From the sweeping sadness of the melodies to Ben Gibbard’s adorably nasal croon. “I watch the patchwork farms / Slow fade into the ocean’s arms,” he sighs, and suddenly it’s impossible to understand why rock music (or at least the strand known as ‘indie’) ever had any difficulty crossing over with electronica.

These songs are as gloriously affecting as anything Gibbard has composed for the guitar-focussed Death Cab For Cutie, with those softly understated loops melting imperceptibly into his typically bookish narratives. You could rarely call The Postal Service ‘dance music’ – they sure ain’t Daft Punk – but everyone present does their best to groove along, turning nearly every lovingly-memorised line into a gleeful anthem.

Two new songs have been included in the recent reissue of ‘Give Up’ – ‘Turn Around’ and ‘A Tattered Line Of String’ – but they represent the only previously-unreleased material in tonight’s set. Nothing hints at a second album.

We do, however, get Jenny Lewis duetting with Gibbard on a rapturously-received ‘Nothing Better’, a giddy Beat Happening cover (‘Our Secret’), and a brisk run-through of the track that started the whole thing: Dntel collaboration ‘(This Is) The Dream Of Evan And Chan’.

The set closes with Gibbard manning the drum kit stage left, as band and crowd alike coo, “everything will change”. Is this a sign that their productivity is about to increase? Or a line is drawn under the band for good? It’s impossible to tell, but at least everybody got what they came for: an intense hit of euphoric nostalgia. In that respect, The Postal Service certainly deliver.

(Originally published by Clash Music, 21/05/2013)


YO LA TENGO – Manchester, Ritz, 21/03/2013

June 4, 2013

SHHHHHHHH. We’re not planning to drop any pins – famously the most inaudible of all falling objects – but the near-spectral quietude of Yo La Tengo’s first set has certainly made us cautious of doing so. A solemn, respectful Ritz shuts its mouth and listens intently as the Hoboken trio strum acoustic guitars and murmur so softly that their voices crack with every shifting note. And holy fuck, is it ever sublime, lending tenderness and fragility to some numbers while amplifying those qualities in softer ones. ‘Ohm’ sees the whole band singing together, earnestly advising us not to worry so much. “Sometimes the bad guys come out on top / Sometimes the good guys lose,” they shrug resignedly, exercising their gift of making the simple sentiments sound sweetly profound. Georgia Hubley steps up to the mic for an entrancing ‘Cornelia And Jane’, but it’s Ira Kaplan’s keening sincerity on ‘The Point Of It’ that truly steals the show. A reassuring paean to the inevitability of getting older, it reduces the room’s dry-eyed quotient to a cold minimum. A heartbreaker for sure.

“Wait, back up, did you say ‘first set’?” Yes, dear reader, we sure did. Tonight YLT operate without support act, dividing their performances with a brief interval. It’s a Proper Show, in other words, and an infinitely louder second half delivers further thrills and fan favourites. In particular, ‘Moby Octopad’ and ‘Autumn Sweater’ showcase the band at their poppiest and most experimental, as drone-flavoured grooves mix with delightfully moreish ear-worms. The furious bursts and squalls of ‘I Heard You Looking’ bring the set to a thrillingly cacophonic close, but Yo La Tengo’s greatest skill lies in their ability to make even the biggest noise seem intimately warm. And if that’s not worthy of reverential silence, then what the hell is?

(Originally published by The Fly, 25/03/2013)

DESAPARECIDOS – Manchester Academy 2, 10/02/2013

June 4, 2013

“They say it’s murder for your folk career / To make a rock record with The Disappeared” – that may not have been the cleverest line on Desaparecidos’ 2002 debut, but it was certainly the funniest. Now they’re back with new music on the way, and with Conor Oberst hinting that his long-running Bright Eyes project may have been killed off, it could yet turn out to be the most prophetic.

Still, that’s the diminutive Nebraskan all over; constantly playing with words, characters and false promises. He’ll talk enough shit to convince you that he’s a total asshole before crooning the most sensitively intelligent lines you’ve heard this side of John Darnielle, slaloming the listener in and out of false senses of security and distraction. The scamp. The reunited five onstage are a more visceral prospect than the Americana-tinged folkiemo with which Conor made his name – bassist Landon Hedges doubles up on the majority of lead vocals, amplifying the ragged howl as a deafening, punked-out ruckus sounds out. The thunderous pounding that Matt Baum’s punchdrunk drums receive would be a compelling spectacle on their own; firecrackers and explosions beneath the soaring melodies.

If there’s a real problem tonight, it’s the shitty sound that does its best to obscure the songs. So hook-drenched album opener ‘Man And Wife, The Former’ is barely recognisable until the singing starts, while the dude-punk thrills of ‘Greater Omaha’s head-nodding riff are almost totally lost to the fog. But what we can hear is riveting, with new material suggesting a second album could be a stormer. Even the old songs feel relevant and now, as opposed to decade-old nostalgia pieces. Time will tell whether the folk career is truly deceased, but for the time being The Disappeared look like a pretty good bet. Welcome back.

(Originally published by The Fly, 15/02/2013)