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.
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.
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).
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)
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.”
