The LA “it” band Silversun Pickups played a packed house at the State Theatre in Minneapolis last night, where zero stage decoration, a plain black curtain and minimal lighting effects made the evening all about the music.
I first wrote about SSPU back in July 2005 with their Pikul EP, became a fan, and then was thrilled to spin their debut full-length, Carnavas, in 2006. But their new album, Swoon, is the one making waves with the hipsters and mainstream, and the band took it humbly in stride Monday night.
Lead singer Brian Aubert’s Pumpkins-style distorted guitar overdubs and uniquely haunting voice stirred emotion and frenzy in the crowd as the band pounded through mostly new tracks. For four years I’ve always thought Aubert’s voice was electronically manipulated, but he actually sings like a raspy warlock in real life.
Nikki Monninger, on bass and unfortunate backup vocals, and Joe Lester, on keyboards, did a great job rounding out the sound, but it was drummer Christopher Guanlao who kept my attention.
Amost like churning butter, Guanlao’s sticks pounded circular, tribal rhythms while his right hand remained suspended in mid-air to accomadate rests. And the crash cymbal suspended high beyond arms reach made for some acrobatic fills.
Loving the adoration flowing from the theater, Aubert made a comment about playing some of his most favorite shows at the legendary 7th Street Entry and asked for the house lights so he could see the fans packed into the balcony.
It’s one thing to have a stage persona of a rockstar. It’s an entirely different approach to take the stage as a humble musician who is grounded enough to see how far he’s come and let the fans know he’s appreciative.
Favorite songs last night included “Panic Switch,” “There’s No Secrets This Year” and “Lazy Eye,” which compelled Aubert to jump the stage and run up and down the theater’s central aisle. For those of you who loooove “Lazy Eye,” may I highly recommed the digital-only 7-track EP with four “Lazy Eye” remixes. Stream it here.
Show openers Manchester Orchestra played too dang early. I only caught their last few songs, and I desparately want to see them back in the Cities at a more intimate venue. The Atlanta band’s sound has the raw authenticity of early Cursive, the southern emotive turmoil of Raleigh’s Annuals and enough youthful naivete not to know or care they aren’t the greatest band on the planet.
At least I got to hear a few of my favorite Mean Everything to Nothing tracks, including “I’ve Got Friends,” “Everything to Nothing” and “The Only One.”
Also, the band’s lead singer Andy Hull has one of the best lion’s mane hair and beard I’ve ever seen. So there.
