Gnarls Barclay - The Regent, Auckland - March 28
Danger Mouse is not just the most busy person in Music today, he is also one of the more subversive DJ whizz kids who's obsessive prowling into territory designed to make trouble produced the underground classic The Grey Album. Next, there was the joyful ludicrously uplifting little number with Gemini that defined something striking, a hook with a blast. Something extraordinary. The next time the Danger Mouse effect struck by suprise was this amazing voice singing "Crazy" - the voice of Gnarls Barclay and the grin that controls it played a magic and make this rap soul maistro a demonically success overnight megastar on an MC Hammer scale. In reality he is even larger than life. Bugling with extraordinary life and a huge personality, the best voice you could hear, and a show that was spectaularly artful. The singing was delivered with a professional ease underlying the sense of frustration he had with this quiet crowd.
Perhaps it was the sheer brilliant over awed the audience but I suspect a little seen phenomena made it difficult. The crowd went crazy for the support act - and it kind of burned with such a powerful energy that there was nowhere to go. The Rapture are far far too good to support anybody, so watch out touring artistes - they are dangerously brilliant. More on them later.
A string quartet flawlessly alternated introductory riffs in counterpoint to a fine guitar lead, very distinctive backing vocals and the dynamic duo - this extraordinary masterpiece producing machine was belting out their short catalog of great songs to a mute response. "You're here to party!" the exhortations were loud and the language of frustration was like watching a comic melt.
Another, and in my view the real problem with both bands, is that they were produced far to loudly for the venue. The reason is the sound desk is buried under the circle, so only gets a slice of the full volume of the sound. The reverberation in this grand dame old theatre is quite serve. By the time one's eardums have been destroyed by the opening act, the main act is far far too loud to hear much and the performer's sense of timing may get rushed as he peers into the murk. But this band had far too much class. He swore at the quiet crowd and roused them to instant loud cheering yelps but he felt like he was not connecting, perhaps, The crowd were overawed, perhaps. Intro-ing his great hit as the reason for all his wealth and his exuberant ego in listing out what was great about himself, well he will grow out of it. I would fogive this man for anything and he was funny.
Storming off the crowd soke up like a petulent child in the night and demanded and demanded an encore. Just enough tough love from a man who convinced the audience he loved each one of them, and he opened his encore set with a cover of Space Oddity by David Bowie, and the crowd warmed up. And it was a great cover.
Sometimes something new seems like something old. The comparisons with James Brown are obvious in a sense, but Gnarls Barclay was done absolutely no favours by the presentation. The venue would be well advised to change their sound setup so engineers can hear what they are producing. Accuracy of the intended art is far more important than excess volume that makes it impossible for punters to hear some of the best music ever made while their ears and future enjoyment of all music may be compromised.
Yes, some bands are head bangers, but Gnarls Barclay is virtuoso conterporary jazz blues soul act. Next time I would rather hear them in a concert chamber.
Perhaps it was the sheer brilliant over awed the audience but I suspect a little seen phenomena made it difficult. The crowd went crazy for the support act - and it kind of burned with such a powerful energy that there was nowhere to go. The Rapture are far far too good to support anybody, so watch out touring artistes - they are dangerously brilliant. More on them later.
A string quartet flawlessly alternated introductory riffs in counterpoint to a fine guitar lead, very distinctive backing vocals and the dynamic duo - this extraordinary masterpiece producing machine was belting out their short catalog of great songs to a mute response. "You're here to party!" the exhortations were loud and the language of frustration was like watching a comic melt.
Another, and in my view the real problem with both bands, is that they were produced far to loudly for the venue. The reason is the sound desk is buried under the circle, so only gets a slice of the full volume of the sound. The reverberation in this grand dame old theatre is quite serve. By the time one's eardums have been destroyed by the opening act, the main act is far far too loud to hear much and the performer's sense of timing may get rushed as he peers into the murk. But this band had far too much class. He swore at the quiet crowd and roused them to instant loud cheering yelps but he felt like he was not connecting, perhaps, The crowd were overawed, perhaps. Intro-ing his great hit as the reason for all his wealth and his exuberant ego in listing out what was great about himself, well he will grow out of it. I would fogive this man for anything and he was funny.
Storming off the crowd soke up like a petulent child in the night and demanded and demanded an encore. Just enough tough love from a man who convinced the audience he loved each one of them, and he opened his encore set with a cover of Space Oddity by David Bowie, and the crowd warmed up. And it was a great cover.
Sometimes something new seems like something old. The comparisons with James Brown are obvious in a sense, but Gnarls Barclay was done absolutely no favours by the presentation. The venue would be well advised to change their sound setup so engineers can hear what they are producing. Accuracy of the intended art is far more important than excess volume that makes it impossible for punters to hear some of the best music ever made while their ears and future enjoyment of all music may be compromised.
Yes, some bands are head bangers, but Gnarls Barclay is virtuoso conterporary jazz blues soul act. Next time I would rather hear them in a concert chamber.
No comments:
Post a Comment