It’s Australia Day Eve at The Hi-Fi and I’m here to re-live the ‘Teen Dream’. Why the hell not. They were great times and more importantly this is one of only three side-shows that Baltimore band Beach House are playing while in Australia for the St Jerome’s Laneway Festivals.
Quite a few people have come down early to catch the first support, Wintercoats, the solo project of a young man named James Wallace. Wallace introduces his first song, ‘The Overture’. The audience jump onboard for what is an intimate and delicately woven performance. Plucking his violin before picking up his bow, Wallace works new parts into each song using his loop machine.
Andrew Bird is the first artist I liken him to. Perhaps it is a combination of the Pizzicato technique he uses and the articulation and unpredictability of his song writing. Vocally Wallace bares striking similarities to Of Montreal. The only unnerving part of Wintercoats’ performance is the feedback that occurs when the loops get too heavy. If there were a way of creating a wider, stereo mix of the recorded loops, then a more spacey ambiance (like on his E.P. ‘Cathedrals’) would sound great.
Second support, The Orbweavers are also a local Melbourne act who have just been picked up by Mistletone. In monotone harmonies the band open chanting the line, ‘get your bodies on the dance floor’. Setting an eerie tone for what could be an interesting set. Alas the buzz of the growing audience is too loud and The Orbweavers are lost in the noise. Front woman Marita Dyson is incredibly composed, her vocals difficult to hear but dreamy and flawlessly delivered.
The band seem unperturbed by the audiences’ chatter. The Orbweavers are far from bland but honestly I’ve never witnessed a band look so bored onstage. Wishing her younger sister a happy 21st, Dyson introduces the last and most engaging song of the set, ‘This is a song about a place where my sister and I spent some time when we were growing up, it’s called ‘Spotswood’.’
Hi-Fi is almost full and the excitement levels are rising as we watch Alex Scally of Beach House, meticulously prepare the stage and sound check for the show. My friend returns from the bar with a stubby of Jim Beam and Cola, not his usual choice but if you’re looking for a quick flashback to your teenage years… It’s ‘Teen Dream’ in a bottle.
The house lights drop and Alex Scally, Victoria Legrand and Drummer, Daniel J Franz appear on stage. Decorated with metre high spinning tinsel-covered diamonds of gold and silver the stage looks impressive and so do the band. Adorned in the most dapper looking blazers, Scally in black, Legrand in Lime, Franz noticeably has his own thing going on dressed more casually in a singlet, exhibiting his athleticism. Scally hits a button to start the first drum sample and Beach House open with ‘Gila’, a single off their 2008 album ‘Devotion’.
Legrand makes eyes with the audience during these first few songs, marking her presence immediately, her deep, airy vocals louder and more cutting than ever. Standing at her organ, centre stage, Scally sits to her right playing guitar and dancing about on his seat from the get go. At first I’m curious to why he doesn’t stand up but I discover that Scally is cleverly multi-tasking, playing Bass pedals with his feet!
The room is in a trance by the time the band move into their second song and into their new material. Scally stands up for ‘Better Times’, which is followed by ‘Walk in the Park’, one of the singles off the new album, ‘Teen Dream’. The trio build their songs, lifting them up and away off the record. This is a live show and it’s so tight but it’s still so raw and there’s an energy between Scally and Legrand that is so incredibly exciting.
Fairy lights now glow on the back wall of the stage and a new friend standing beside me yells between songs that I must mention the lighting in my review. The lighting is particularly well executed throughout the show, mesmerizing us all by reflecting light off the shiny bright tinsel and shining spotlights on the performers at perfect intervals.
The breathy vocals in the intro of ‘Norway’ are welcomed with some excited squeals. Scally melts the audience as he bends and slides from note to note swaying with Fender in arms.
The band shake their hair about and jam on ‘Lover of Mine’ and ‘Silver Soul’ off their new album. They play another tune off an earlier album before Legrand tosses her long curls back off her face and takes a minute to thank the support acts for setting the mood.
Someone in the audience yells out something about a root canal and Legrand laughs and mutters, ‘Yeah the best root canal you’ve ever had,’ before diving into the next tune, ‘Used to Be’. By now the audience are well and truly warmed up. It’s sweltering hot down on the floor and it must be ten times hotter on stage. When Legrand asks if we’re doing ok and we’re not too hot, she gets a minimal response so she laughs and says, ‘Ok, so you’re just hot enough!’
What Legrand says next is slightly confusing, after delivering a great version of ‘Used to Be’, she says, ‘You must forgive us’, the audience listens for what she has to say next. The same question must be on the lips of everyone, ‘forgive you for what?’
‘You’ve been so kind’ she expresses before launching into a song. Now I assume this must be new as it sounds looser and lacks the same confidence in melody as their other songs. As a contrast you’ve got to embrace the experience of hearing an unpolished song like this live.
Franz joins Legrand and Scally harmonising in the intro of Zebra. In interviews both Legrand and Scally have discussed how playing the same songs night after night can be tedious but for us, tonight at Hi-Fi they do an excellent job of making this song sound fresh. They look to be enjoying themselves and Legrand even has Zebra hand actions to go with the chorus.
The mixer ups the delay on Legrand’s vocals and this last ghostly song, (possibly ‘Baby’ off the ‘Zebra E.P’) marks the end of a thrilling hour set. It wouldn’t have surprised me if Beach House ended the night here but after a quick break they’re back on stage for the encore.
Legrand is creeping cheekily back to her spot at the organ, as they all return smiling. As an encore Beach House play the last three tracks off ‘Teen Dream’ in reverse order. ‘Take Care’, ‘Real Love’ and ‘10 Mile Stereo’. Each is received with much fervour and adoration from the audience. Beach House have played ‘Teen Dream’ in its entirety.
If you’re heading to Laneway, make sure you catch these guys. You will not be disappointed. Seeing them live, you can appreciate, above all, their wholesome musicality, and collaborative creative talent.
– Joan Bone
