Frenchkiss Kicks Ass
– After a series of big name shows by the likes of Edward Sharpe and the Magnetic Zeros, Caribou, She & Him and the train-wreck that is M.I.A., Saturday’s ( 8/7/10) lineup on Governors Island seemed pretty low-key. Local Natives was the night’s main act, supported by Young Man and We Barbarians. Yet, the show was a sell out. That should’ve been an indicator.
Before we get to their set, let’s take a minute to mention the openers. Young Man, recently signed by Frenchkiss Records, is made up of a four guys from Loyal College in Chicago. When they started their set, they seemed like nervous kid—and for good reason. According to singer Colin Caulfield, “This is by far the biggest show we’ve ever played. This is our first show in New York City.” But their earnest lyrics and familiar sound (think Grizzly Bear meets west coast surf-rock) got the crowd going and gave the band confidence onstage.
We Barbarians were just the opposite. Since they formed in 2007, they’ve garnered a huge following on the west coast. The east coast audience, who seemed largely unfamiliar with the band at the start, caught on quickly to the band’s fast-paced rock and roll. Singer David Quon is one of the most charismatic singer’s I’ve seen in a long time. He transitioned easily between soaring, Bono-esque vocals and harsher verses. The drums were loud and driving. The guitar was catchy. It’s a formula that works. Keep an eye on these guys.
Helming from the oh-so-lovely O.C., Local Natives made their debut at last year’s SXSW festival in Austin, Texas. They followed up that fall at the CMJ Music Marathon in New York. They played a low-key but magnificent set on the roof of the Delancey. Though they draw comparisons to Arcade Fire and Fleet Foxes, their vibe is a bit different. They focus on Afro-pop drums and lots and lots of harmonizing—on like…every song. The production was still a bit amateur. The sound wasn’t great, neither was the organization. But there was definitely something there. After the show, they greeted fans and handed out copies of their self-produced Daytrotter EP. Soon after this show, the band was signed by Frenchkiss, and 2010 brought the release of their first full-length, Gorilla Manor.
From the second the quintet took the stage on Governors Island, it was clear that this was not the same band I saw last year. They immediately put more emphasis on the drums, allowing them to take center stage, banging and crashing, as the crowd patiently waited for vocals. “World News” is very typically Local Natives. The pace was quick and narrow, with the only the harmonies straying. “The lane next over is always faster,” sang
Taylor Rice, Ryan Hahn and Kelcey Ayer in unison, trailing off at the end—one of their favorite things to do. The guys continued quickly, practically speaking, “But right after you/ Complete your merge/ The lane you started in gets going.” The transition between drawn out falsetto and quick-paced pseudo-chanting is something they do often and well. The tension increased as they came to the climax. Everything sped up, Rice (also guitarist) danced frenetically and they all sang, “Your phone goes off with a picture of your mother/ It’s five to six and you can’t find your brother.” It’s worth noting that the crowd knew every word to this song (and all the other ones too). These harmonies simply beg for full-fledged crowd participation.
It always takes a few moments to recognize that “Warning Sign” is a Talking Heads cover, not a Local Natives original. It may be their best song. They made it their own by adding more harmonies (duh), which nearly cover up the distinct, Talking Heads bass line. From the beginning, they tackle the song as a group. The three-part harmony continues throughout, while the playful and unwavering drums keep it from being dull (the vocals are always sweet, but alone, they’re not enough to keep a crowd interested). The song really gets a kick in the ass when it reaches the end. “Hear my voice, move my hair/ Move it around a lot/ I don’t care what I remember,” screams the band as the song drops to nothing, seemingly out of nowhere.
Crowd favorite “Airplanes” came on a bit later on. This is easily their most nostalgic song—a theme with these guys. It’s about the passing of one of the member’s grandfather’s. The drums are played down a bit, really allowing Ayer’s bittersweet voice to shine. “I did not know you as well as my father/ Father knew you,” he sang with so much emotion everyone felt it. The song slowed down, with Ayer’s voice basically a whisper as they came to the bridge. “I love it all/ So much I call/ I want you back, back, back/ you back,” finished Ayer, with his voice once again full volume. The crowd howled along with him. This song transcends the Fleet Foxes/Arcade Fire formula that the band sometimes falls into. It’s folkier, and for some reason, it makes you trust these guys more.
(via mmastodonn)
For the encore, they picked their first single, “Sun Hands.” Rice had lead vocals on this song, which, at the start, sounds like a tribal anthem. The drums and percussion was steady with a funky sort of guitar layered on top. Rice’s nasally voice came in perfectly, “I climbed to the top of a hill/ But I had just missed the sun.” The lyrics certainly evoke something tribal. Rice continued, “I’ll endure the night/ For the promise of light.” It’s a ballad for the sun, about holding onto it even as night falls. The song goes from good to great when Ayer joined in. After Rice sang in a controlled voice, “And when I can feel with my sun hands/ I’ll promise not to lose her again,” Ayer joined in and the two let their voices loose. They repeated the verse, this time screaming in unison, attacking the harmony with everything they had left. Guitar crashed. The song regained composure. The crowed freaked out. The end.
Kate Bonacorsi