New Beirut Sounds Fabulous (part II), photos
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.
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.
