Let me open this with two confessions. Confession #1: I am casual Lord Huron listener, not a super fan by any stretch of the imagination. Confession #2: I think the content and sound of their songs goes past the point of cohesion and into the realm of fusion (a.k.a. they all sound extremely similar to me, and I frequently catch wording repeated). Like “Meet Me in the Woods”, “Love is Like a Ghost” and “The Night We Met” could be merged into one super-song, and I don’t think I would notice it was originally three different songs. I’m not pitching that as a complaint, just an observation. With that out in the open, I enjoy many of their songs and had decided on a whim to go see Lord Huron at the Vogue in Indianapolis. The Vogue is a club by trade, but functions as a concert venue from time to time. It’s a little grungy; sticky floors and bathrooms used and abused by drunks, but generally a good place to see shows. I’ve been twice, and both times I went just in time for doors. Both times I was able to walk straight up to the stage. It’s easy to get in and out of the crowd for drinks. I don’t usually drink at shows, but at the Vogue I do. It’s just too easy and I’m generally not there to see one of my favorites, so it’s nice to get a little buzz on. There’s a parking garage across the street, which is crazy convenient (don’t drink and drive, folks). This venue was well ventilated and cool. Apparently this is something venues have been consistently picking up on since I started going to concerts in 2008.
The opener was Son Little, a three-piece band. Son Little was true blues through and through. The songs were heavy and the vocals were genuine. Occasionally there was an undercurrent of hip-hip. If you’re a blues fan, I feel like it could be difficult to find emerging blues artists these days. Blues musicians have to have a good sense of expressing true suffering, and it could be that newer American generations are more and more detached from that. Then again, there’s a market for everything, and I don’t have much of a stake in the blues sector. Despite that, I think it’s a safe bet that Son Little would be a favorite of blues fans looking for someone new to invest in. The singer Aaron Livingston (every time I see Aaron with two A’s, I always think of that Key & Peele sketch, and in my head I say A. A. Ron) spent some time studying at Columbia University before moving to Philly and attending Temple University.
He seems like an interesting guy. Although he wasn’t much for banter (which I appreciate, if it doesn’t come naturally, don’t force it), when he did speak it was low-key and subtly humorous. Anyways, they made for a great opener that could certainly stand on their own merit.
Son Little, Photo Credit: http://www.radiomilwaukee.org
Based on the amount of instruments Lord Huron needs to carry out a show, I’m shocked that it didn’t take several hours to set up. I’m talking drums, a small army of guitar pedals, table organ, two harmonicas, several guitars, the bass, a keyboard, multiple microphones; they even had a Theremin. You know the last time I saw a Theremin actually played? On a DVD of a Led Zeppelin concert; although this version resembled more of an Apple product than a giant black box with a car antennae. I digress. The back-drop was beautiful; a woods scene that interacted nicely with the neon “Strange Trails” lights, creating a disconcertingly realistic depth to the woods. The effect lent itself nicely to some of the more forlorn, ghostly tracks creating a feeling very much like walking through the woods at night; whether in a feeling of being lovestruck or being under the forces of dark magic, the lights could adjust the tone to fit.
In some cases, one may think all the pomp and circumstance may be used as a cover-up or crutch. Personally, I was quite pleased with all the effects. I appreciate the effort to make a show a true show. There should be a little pomp and circumstance. So long as it’s done tastefully, decoration can go a long way to enhancing a musical experience. Lord Huron’s music contains a lot of nuances; a lot of separate little sounds and details that may not be discernable on their own, but when combined produce a mood that is unique to the band. Seeing them live, you are able to pick these sounds out when you hear them on the recorded version later. I came away from the show with a new respect for the band, as incorporating all these instruments and variability within these instruments can’t be easy and surely takes a keen ear.
The setlist walked a strange line (a strange trail one might say ;), good God I’m clever…) between upbeat/fun and spooky/haunted. One minute felt like being on a great trip to the Wild West and the next felt like lovelorn-tinged terror. I know, bizarre, but I swear the mix chalks up to a good show. It’s easy to get caught up in the sound and music and showmanship and miss that the entire setlist is full of demented romance and themes of death. Songs included, “Love Like Ghosts”, “Dead Man’s Hands”, “Cursed”, “Lonesome Dreams”, “The Ghost on the Shore”, “The World Ender” and, “Meet Me in The Woods”. Just sayin’. The list also included “The Night We Met”, which contains one of the best choruses on the Strange Trails album, “I had all and then most of you, some and now none of you”. The flow of which always catches me. It’s a simple song, but the message is starkly honest and therefore starkly painful.
Let me close this with two learnings. Learning #1: When you have the opportunity to take a chance on a band you think is okay at a decent price in a close venue, jump on it. It’ll be an experience one way or another. Learning #2: If you have the time, use it to delve a bit deeper and spend more time with music you feel questionable about. In the case of Lord Huron, I went in with an album I thought was decent and came out with an album I could appreciate on a whole new level, lyrically and sonically.
Questions, Comments, Were you there? Email me at theactivelistenermail@gmail.com!
The Active Listener 