
By Tyler Fassnacht
I almost didn’t go to last nights Decemberists show. I had seen them twice before and I wasn’t sure if I wanted to cough up the cash, especially because I wasn’t overwhelmed by their latest album, The Hazards of Love. Well I sucked it up and went, and boy am I glad.
The show was originally located at the Orpheum, but was moved to the Overture Center, which is both a curse and a blessing in my opinion. The Overture Center has very strict ushers and is a little too proper for a rock show (it is always a little awkward standing up there). However, it does have beautiful acoustics and all around good sound, which really benefited a lot of the Decemberists’ material.
I got there early for a good seat (it was general admission) and I was still a little skeptical of the show before it started. It started very promptly with the openers, Heartless Bastards (the only time I’ve ever seen a band come on EARLY, five minutes to be exact) and they blew me away. The first thing that jumps out about this alt-country/rock band are the vocals by front woman Erika Wennerstrom. She has one of the most unique voices in rock right now and she uses the hell out of it, yelping and bellowing her way through the HB catalog. I was a casual listener before hand, but now I am a full fledged fan. They were incredibly deserving of the standing ovation they received and I am definitely excited to catch their set at Lollapalooza.
This show was also the most punctual rock show I have ever been to. I read on some television screen near the bathrooms that there was a thirty minute break in between bands, and come thirty minutes the Decemberists walked on stage.
The band came on and as promised they played the Hazards of Love in its entirety, without a single pause. It was really more of a musical theatre performance than a rock show, with approximately an hour straight of music and no recognition of the audience. The band played as they were actors, staying in character throughout each song, pretending as though they were in some far off land, with no breaks to even say hello to attendees. Now as I mentioned I wasn’t a huge fan of the new album, it just didn’t seem very Decemberists-y to me, but when performed live it was much more engaging. However I would be lying if I said I wasn’t even more excited for their second set of old Decemberists goodies.
During their second set they were a completely different band, with witty banter between every song (including reminiscing of past shows in Madison and stories of awful songs Colin Meloy wrote, Dracula’s Daughter anyone?). For their second set they mostly took from the Crane Wife, with one from Picaresque, “We Both Go Down Together”, and one from Castaways and Cutouts, “July, July”. The encore ended with an audience sing a long to “Sons and Daughters”, which was a nice, warm way to end a surprisingly fun and entertaining night.
Buy: The Decemberists – The Hazards of Love