Tuesday night's sold-out show at the Buskirk-Chumley Theatre was unlike any other show that I've attended in the past. While most concerts that I go to unearth some kind of feeling in me, both Grizzly Bear and Here We Go Magic put on one of the most emotionally driven shows I have ever seen.
Here We Go Magic started off the night with the laid back song, "Everything's Big". They were a bit late due to what the lead singer called a, "shit show of a drive", but if they weren't prepared, it wasn't obvious.
The last time I saw Here We Go Magic was back in March at The Cinemat. After playing a stint of sold-out shows with Grizzly Bear however, I could tell that their sound was sharper, cleaner, and more polished. They hit all their songs dead on and it was really enjoyable to see a small, but auspicious band take such a big leap forward.
They continued by playing the shimmery, atmospheric song "Only Pieces" which started out with sparse, tribal drumming and eventually included more instruments. Sleigh bells even found their way into the song, and it continued to climb until it reached an epic plateau.
The song "Fangela", which is possibly my favorite track off their self-titled album, came shortly after. Soft and serene, this relatively quiet song sounds like it could have been recorded in a bathroom. When performed live however, it was transformed into something much bigger and more powerful.
They closed their set with the whispery, "Tunnelvision" which was a tender and extended version of the original.
When the time came closer to Grizzly Bear to take the stage, people poured into the aisles and squeezed closer to the front.
As soon as the band began their set, the atmosphere throughout the entire theater was transformed. Their haunting harmonies and nearly-religious dirges rang out in a way that made the show a spiritual experience. Their music somehow echoed that of a church, and it makes sense. Their newest release, Veckatimest features a group of young girls singing in a church sanctuary.
The second song they played was called "Cheerleader", which was even fuller live. "Lullabye" made the hairs on my arms stand up and by the time they launched into the ever-popular "Knife" I had completely forgotten where I was. And that is exactly what Grizzly Bear is good at: making music that can take you anywhere that you want to go.
The sparse and piano-driven "Foreground" was one of the most compelling songs I've ever heard performed live. Ed Droste's tender vocals were so honest and poignant that they seemed to ache for something in the past.
The liturgical and pristine, "Ready, Able" was dark and moody, as was "Fine For Now". However, they soon shifted gears and played their most up-beat and catchy song to date: "Two Weeks". Imbued with confectionary keyboard and strong drumming, audience members couldn't help but move during this song.
After momentarily leaving the stage, Grizzly Bear came back on stage where they sang "Fix It" off their debut album, Horn of Plenty. Once again they succeeded in performing an outstanding song that touched me at a personal level. There was something sonically ancient and sacred about it, making it a truly great song with which to encore.
It had been nearly three years since I first saw Grizzly Bear at the Pitchfork Music Festival. Since that performance in Chicago, they have gained much critical acclaim, hitting number 8 on the Billboard Top 100. I knew that seeing them after the release of Veckatimest and in a more intimate setting would truly be wonderful, and I was completely right. The Buskirk-Chumley provided the perfect setting for such beautiful and bone-chilling music and I can't wait to see them again.
-Katie
*All photos by David Hassell
