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.

Here’s a video of the Hawk and a Hacksaw cover from last night’s show. I’ll post more next week.

If embedding this video please link to this page. Watch in HD.

It wasn’t a bad show by any means though–people couldn’t help smiling and everyone (except for us, I guess?) went home in a blissful state, but I felt like the original point of Beirut was missing just a little bit; that somehow fame had had its irreversible effect. And it’s kind of sad because all of the people who saw them live for the first time last night didn’t even see the best they’ve had to offer, yet went home thinking that they did see it, and what’s worse, totally satisfied with that thought. I maybe overreacting, though–after all, three of their key players were absent: Jason Poranski, Jon Natchez, and Kristin Ferebee. Was it temporary? I don’t know. Drummner Nicholas Petree and accordionist Perrin Cloutier (and I would even add bassist Paul Collins) held the show together, and I have to say that Zach Condon and Kelly Pratt leading the front is not going to be enough. Besides, the horns were sometimes sloppy (and Zach’s horn sounded way too loud compared to the rest).

After playing “Brazil” and before leaving the stage, Zach said, “We’re also available for barmitzvahs and weddings”, which is probably the only sincere thing I’ve ever heard him say at a show, ever, and it’s not because he lacks sincerity, but the spotlight seems to make him somewhat stiff and guarded. He still does his “fake laugh at the microphone” bit, which I wouldn’t even mention if I didn’t think it was a symptom of a larger awkwardness–he seems most relaxed when he’s turned around to face his band mates or when he’s lifted his horn and taken a few steps back to play it. I don’t think this is as much about stage fright as it is about being put out into the world for massive scrutiny (and here I am deploying my own version of such massive scrutiny). But still, I’m saying that I’d have so much more fun if they were playing a barmitzah or a wedding. Where was Jason Poranski?!

Listening to some of the new songs, I thought they were pretty good, and especially worth noting that they’re not really laden with hooks as such, which can sometimes be a sign of someone’s comfort with the process of songwriting. The parts I liked were the ones that seemed pretty close to the traditions they were inspired by. But I’m not sure what happened to the amazing new songs I’d heard at their last-minute show at the same venue back in May of 2008–they either didn’t play any of that or they were edited and played beyond recognition.

Music Hall of Williamsburg,
Brooklyn, New York
Feb 4, 2009

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.

Tallest Man on Earth

“I don’t know what we were thinking, bringing that dude on tour with us,” said Bon Iver’s Justin Vernon about Swedish folk singer Kristian Matsson; who goes by the moniker Tallest Man on Earth and finds himself dazzled by, and dazzler of, the enchantments of Americana Folk. Justin added, “Dude’s record is something else.” Kristian exists in full troubadour state of mind, strolling intrestedly up to the edge of the stage between songs, tilting his head up and down to get a good look of those who’d gathered; with always a smirk on his face that was a mark of the pleasure within; and then bursting into his fomenting voice fit for winds that roll along certain hills, for sure.

In the easily likable “King of Spain”, he sang the lyrics “I wear my boots made of…” and stopped abruptly to ask, “Can I say it?”; then burst forth, “And I wear my boots made of spanish leather!“. Later on there was some talk of Bon Iver’s greatness when a few fans found it necessary to declare, “We came to watch you“. “Fuck you?”, Kristian misheard at some point. “No, we love you,” someone clarified, and Kristian responded, “That’s a lot a better.” He closed with a cover of “These Days”, of which video’s posted below.

Websites: Bon Iver, Tallest Man on Earth, Beirut

Music Hall of Williamsburg,
Brooklyn, NY
December 12, 2008

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.

Even as I was making trips between the pit and my seat, I’d noticed the perfectly fine sound deteriorating by leaps with every step up. Still, Balkan Beat Box had managed to sound full from my lousy seat, Beirut had not. Besides, the Wordless Music Series show at New York Society for Ethical Culture two nights prior hadn’t been as great as the Bowery shows either, though it hadn’t been bad. What was missing was the bigness of gypsy spirit that brass instruments hold within by the right of their very structure; the resounding and the immersed that would bring any venue to its knees. When tested at a setting somewhat bigger than previous Beirut spots, however, and/or with seated audience, the band failed to create a “big sound” that was thought to have defined them.

Meanwhile, frontman Zach Condon is prone to mumbling on the mic, and without the usual response of enthusiastic female fans, it was awkward at Central Park. He’s also prone to self-consciously laughing at inside jokes, without revealing what the joke was. Sometimes, he would rather not communicate coherently to such an extent that he starts mumbling in French, we all know this, or he starts playing drunk so that he can take full liberties at being incoherent. In short, you won’t see him leaping a few feet in the air, yelling, “Throw your hands in the air, and wave ‘em like you just don’t care” anytime soon. He needs the horns to not only do the talking, but to tell stories that wrap around you.

The new songs Beirut revealed at Music Hall of Williamsburg gave the impression of having this quality, all doused in waltz, on par with its influences, and with impeccable phrasings. It must be noted that Zach is being brave enough to play the lead horn, and doing an impressive job at it. However, Beirut may never be as enjoyable on a big stage as they were in the cozy Music Hall or the Bowery, or you may never retain the Balkan in Beirut without putting the audience on their feet, or they will prove both guesses wrong, but taking a break from extensive touring to focus on the vision is appearing to be a fantastic decision. I can hardly wait for the next record.

Read Part I (Music Hall of Williamsburg)

Pictures are from September 26, 2007 at Delacorte Theater in Central Park.

Pictures from Music Hall of Williamsburg are here.

Read Part II or view the full post to see what Zach looks like when reading the lyrics of a Portuguese song.

May 18, 2008.
Music Hall of Williamsburg

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.

Beirut, however, rose out of an inspiration to recreate the spirit of street music, be it Romanian or French, which would challenge the well-intentioned idea of staging them in the framework of chamber music. As soon as we were seated on our pews, long before any of the acts went on, it felt weird to be sitting, knowing very well the music that was coming and how forceful it was going to sound when all the horns, the accordion and the ukuleles came out. However, this change of perspective offered to us by the organizers had its own perks, which one could get used to easily: silence reigned during the performances, music was given its sacred space, respectfulness and a wild sweep of applause was to be expected throughout. It was apparent that the band would need time getting used to such a setting, but despite it, adoration from the crowd was evident, and the performance proved itself without shortages from start to finish. By the time they came out for an encore, however, the band members invited people to flood the aisles, and they did as they were told.

Beirut took stage as an outfit of eight, and played a set of new songs interspersed with old: “Brandenburg”, “Nantes”, “Elephant Gun”, “Forks and Knives”, “Carousels”, “A Sunday Smile”, “Mount Wroclai”, “The Flying Club Cup”, “Scenic World” and “In the Mausoluem”, amongst others. For the encore they played a beautiful Romanian song, which best showcased their musicianship, followed by “Gulag Orkestar” and “Postcards from Italy”. The band plays New York again on September 26th with Balkan Beat Box and NY Gypsy All-Stars.

[Adding opening acts shortly]

September 24, 2007
New York Society for Ethical Culture

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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

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:

• Beirut at Bowery May 8th – videos + review
• Beirut at Bowery – photos + review

“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)

“Gulag Orkestar”

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“Postcards from Italy”

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The audience was notably a fun bunch tonight. Some girls from the Sunday night show had returned with the scarf Jeremy Barnes left at a venue in Portland (Jeremy is not currently touring with Beirut). Zach wore it to sing the Jacques Brel cover “Le Moribound.” Two girls in the front took Polaroid pictures and handed them to Zach. When the band started playing “Siki Siki Baba,” the person behind me yelled, “Fuck yeah! Fuck yeah!” For a change, most conversations between the audience and the band were pleasantly organic and enjoyable. My favorite might’ve been the recurring “Jon Natcez rules” chant (Jon Natcez does rule- and he also plays several things for the band, including ukulele and some horns). One person said “Natcez is God” and Zach responded, “Jon Natcez does not exist.” Natcez, on the other hand, blushed and sent chuckle-muffled requests to stop.

Zach Condon sings w/ Final Fantasy

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I also enjoyed the Final Fantasy set more the second time around, though the first one itself was super. Owen Pallet has mastered the art of loop-pedalling and plays such a precisely lush show for a one-man act. The setlist was similar to Sunday night’s, with some differences, including one new song Zach came out to sing the chorus for. For the last tune Owen couldn’t decide whether or not to play a “downer.” He chose to play it (“Took You Two Years to Win My Heart”), reasoning: “You guys are so happy you need a downer.”

Arcade Fire’s Kelly Pratt, who made a brief appearance last night as well, rushed from the Arcade show at United Palace to make it just in time for the first encore, “Postcards from Italy.” Maybe tomorrow Beirut will come to Arcade’s show. Maybe?

Check back for the remaining videos.

Previously

• Beirut at Bowery – photos + review
• Final Fantasy at Bowery – photos + review

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)

Beirut, in any case, was stunning. Everyone delivered. Owen Pallett joined them for what seemed like more than half the set. One new song in collaboration with him was revealed. Someone pressed Zach to share when the album might be coming out, and he said September, around which time they’re also scheduled to play Wordless Music Series.

A smaller line-up consisting of core members played first, then a larger group that included Owen and others, and finally, for the first encore, the amazing Gular Orkestar*, which included members of Arcade Fire, all out with barely enough space on the Bowery stage.

*I saw Richard Reed Parry, and I thought I saw Will Butler, the younger brother, plus one of the violinists. I could be wrong. UPDATE: I did see Will Butler (and Tim Kingsbury).

Related:

• Final Fantasy at Bowery – photos + review