Posts about Beirut
I loved Tune Yard’s opening set–but more on that later. Here’s Beirut:
After covering Serge Gainsburg at last night’s show, Zach Condon of Beirut said, “We played that song more for us than for you, sorry.” That’s probably why it sounded great, and it’s probably why their strongest performances of the night were all covers, which included the final closer,”Brazil”, and a signature tune from A Hawk and the Hacksaw they were really excited about (Zach said “We will play it forever”). It wasn’t that these songs, written by someone else, were necessarily stronger compositions to begin with (though they were solid songs), but it felt like the band sounded best when it was least self-conscious, or least aware of its own fame, because it was distracted away from all of the “I love you Zach’s” by the songs they actually love playing. I guess this is more a criticism of the fame they’ve had to deal with than of the band itself, but last night’s show was not a show you’d want to pay $100 for on Craigslist. The songs felt like they needed to be out on the street again, or at the corner of some small cafe, like they needed to go back where they’d originated, come up for air–they’d lost a little bit of their spirit and a little bit of their love.
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You know that voice of Bon Iver’s Justin Vernon’s? The one that sounds like specks of moon come colliding into bells of rain under an ever-widening evening sky? It churned out a lot of fans this year, including one Zach Condon of Beirut (pictured below, at Friday night’s show), most of whom seemed pretty devoted, showing up early, sushing out the chatters and singing their hearts out when asked. Three consecutive dates in the city sold out fast, and some bought tickets for up to $200 per pair on Craigslist. Then there were those, like one friend of a friend who made a trip from Boston, who traveled from elsewhere. That, and I haven’t seen many “Best of 2008″ album lists that didn’t include Bon Iver’s For Emma, Forever Ago, even though it was released in 2007 and re-issued in 2008. Reflecting on this golden year, most of which was spent on the road, Justin said that he was “ready to come back down to earth” and that he felt somewhat bittersweet about having been done with what needed to be done for the year. Then there were all these songs they played, some new ones from the forthcoming EP, and one cover. Favorite goosebumps moment that involved audience participation is captured in video.
(Zach Condon of Beirut at the show Friday night. They’re playing BAM on February 6. Thanks for posing, I know I made you feel awkward, sorry!)
Onward for videos! Hit continue! Now.
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Continued from New Beirut Sounds Fabulous (part I)
With the impromptu show at Music Hall of Williamsburg, Beirut has redeemed itself since the last time they played New York City. There were a few things wrong at Delacorte Theater in Central Park last fall (pictured above, and throughout this post). From where I sat, the very last row and almost the very last column to the right of the stage, the band’s sound fizzled into an unrealized imitation of the Balkan. The seated crowd had been asked to “throw their hands in the air and wave ‘em like they just don’t care” by the preceding hyperactive Balkan Beat Box, and the crowd had obeyed without hesitation, but throughout Beirut’s set, the energy was mute. When my friends of Eastern European heritage (rightful Balkan snobs) scoffed and left (“seriously, I don’t get it”), I stationed myself at one of the photo pits, center-front of the stage, and the sound was no different from what I’d heard at the amazing Bowery Ballroom shows.
Continued, and more photos from the Central Park show after the jump.
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As it turns out, it was to toss a few new songs at the learned ears of loyal fans that Beirut pulled together a very last-minute show at the Music Hall of Williamsburg. Along with the buzz that tickets would soon go on sale had come a letter from frontman Zach, saying the band would be canceling European dates set for the summer, feeling a reinvention and a “fresh perspective” was in order. Having heard the few new songs tonight, and seeing that the band is in a pretty top shape, I’m now confident these urgent steps lead to a strengthened Beirut. While previous recordings may have been a commendable homage to the street musicians that sparked a vision in Zach, while in Paris, the new songs indicate inheritance of specks of dust of what remains of the Yugoslavian soul. If these songs truly represent what is to come, we will finally be able to say: not only does Beirut pay tribute to Kocani Orkestar, it plays music of the same league. Even if I’m disappointed by the rest and the new music doesn’t get there yet, it seems to be on its way. Zach also sang a pleasant Portuguese song, which said to me: he’s still got his palms open for what other bits of soul the wind might bring.
Read Part II or view the full post to see what Zach looks like when reading the lyrics of a Portuguese song.
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At least as far as performances go, there seems to be a difference of principle between classical and popular music. While in classical tradition the works are subjects of scholarly devotion, precision and admiration, popular music thrives in creating an atmosphere where its audience can participate in celebration and festivity, or even grief and loss. Often, the intention of popular music and its understanding of the human spirit supersedes its genius, whereas the music in classical tradition is so sacred that it feels like the people who listen to it are secondary to it by far. We can be reminded, of course, that there are several bands today that blur the difference of traditions, which makes the concept of Wordless Music Series appropriate (and sure, Sufjan’s mini-orchestra flies in a Town Hall setting).
Continued, and photos, after the jump.
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Download “Siki Siki Baba” by Kocani Orkestar (from Alone at My Wedding)
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Photo: Delgoff
Many Beirut shows have closed with a cover of Kocani Orkestar’s “Siki Siki Baba”. Here frontman Zach Condon performs a truly “ramshackle” version with the Orkestar itself. I was reminded of my favorite version – from Kocani’s album Alone at My Wedding – during a second viewing of Borat.
More from La Blogotheque
Performance of “Gulag Orkestar” added to the Beirut’s 05.08 Bowery Ballroom video collection. More later.
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As previously posted, Beirut, Mum and others will be playing the next season of Wordless Music Series. Some dates have now been listed by Pitchfork:
09-14 Do Make Say Think, TBA
09-24 Beirut, Colleen, TBA
09-25 Beirut, Colleen, TBA
09-26 Beirut, Colleen, TBA
10-09 Mum, TBA
10-10 Mum, TBA
Previously:
If you plan to embed these videos, please link to this page. I’ll be posting more clips from this show in the coming days.
“Siki Siki Baba” (encore w/ the Gulag Orkestar)
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Beirut’s last show at its three-day Bowery Ballroom residency was an absolute blast. It’s rare to like a show considerably more the second time, but tonight’s celebratory spirit and awesome crowd were exceptional. Perhaps it’s the familiarity built in two prior nights and the festive mood of jovial goodbyes. The band members were in top shape, as they were on Sunday, but everyone seemed more laid back and cheerier. There was even an adequate supply of confetti, and Owen Pallett’s animator-friend took on the job of shooting strips of ribbons from the stage. Zach might’ve been a little more drunk, too, and whatever the reason, he was a spirited frontman tonight (he said that Owen Pallett commented he made the best drunk frontman). Cafe Eclectica Music has reported that he is relocating from Brooklyn to Paris after a quick break in Montreal after these NYC shows. Tonight he was insistent that France won the World Cup, even integrating the sentiment into the lyrics at one point. He explained, “Sorry, I love France.”
(More videos after the jump)
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The magical experience of Beirut is under the threat of annoying Zach-Condon-worshipping female fans- not all female fans, of course not, but there is a lot willing to shamelessly steal other people’s front row spots and openly offer themselves to Zach. The latter is excusable, though irritating (depending on the delivery/person), but pushing and shoving, trampling over each other even, as they did towards the end, to simply grab the set list from Zach was disturbing. Needless to say, I am also not a fan of continuous yelling of messages at the band, though half of these are usually fun. But people get carried away sometimes. One girl actually yelled, “You cancelled last year” (a band member responded by joking, “Security!”). New York is the only US city getting a Beirut treat at this time of the year when all other dates are non-US. Two fans next to me had driven all the way from Balitmore, and there seemed to be other out-of-towners, too, and I, for one, am thankful that these three dates were rescheduled. That they went to the trouble of bringing Gulag Okestar out, that they have Final Fantasy with them this time, that the performance was worth all the trouble fans have to go through and so on.
(Photos and review continue after the jump)
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hooves on the turf is a mostly-music blog based out of brooklyn. i can be reached at hoovesontheturf [at] gmail [dot] com - please send me your lovely music as an attached mp3 or an mp3 link. if i like what you send, i'll be sure to ask for more.
