Band Of Horses @ HMV Institute, Birmingham – Thursday 15th November 2012
On collecting my ticket from the box office, I realise that I will be viewing the delights of Band of Horses from a loftier viewpoint than I was hoping for. I begin my ascent of the Institute’s immaculate staircase only to be greeted at every level by the very agreeable staff and their upward gestures, each one a blow to my faltering appendages. I am certain the air is getting thinner as I reach the doorman occupying the top level of the building, thankfully, I manage to refrain from collapsing into his arms and make my way onto the upper balcony.
Having never before seen a band in the main auditorium of the Institute, but having experienced the uppermost reaches of other venues across the country, my enthusiasm for the show is starting to diminish almost as quickly as the oxygen levels in my blood. It is pleasantly surprising to find that upon taking my seat, I still feel part of the proceedings. There is still some sense of a connection to the stage, and to the other audience members packed into the 2,000 capacity venue. The only remaining doubt is as to whether the ancient building and my precarious position will do justice to the 21st century rock that is about to be launched from the instrument-laden stage.
All doubts are quickly extinguished as Goldheart Assembly make their way across the cluttered stage and prepare to offer up the catalogue of songs that secured them such an enviable support slot. The London based quintet have been making music since 2007 and have accompanied Band of Horses for most of their European jaunt. Like most tours nowadays, the support act will have been carefully selected so as to appeal to the tastes of the audience. Rarely do you find yourself in the situation that was presented to The Ramones back in 1978, when they opened for Black Sabbath and would routinely have to run from the stage to escape the deluge of missiles thrown from the less than impressed Sabbath following.
Before Goldheart Assembly strike the last note of the opening number, it is evident that this is a band who are wholly immersed in the vocal artistry that Band of Horses themselves delight in. The stand out song from Goldheart Assembly has to be their final number ‘The Engraver’s Daughter’. A band of immense individual talent, my one gripe would be that they need to hone their songwriting skills, as a couple of the songs were in danger of turning into jams.
Band of Horses are currently touring the globe on behalf of their fourth release ‘Mirage Rock’. They arrive on stage and unusually, before any music is played, lead vocalist Ben Bridwell engages the crowd in conversation. The South Carolina frontman confesses that he has yet to brush his teeth, take off his shoes, or even change his clothes since the previous nights antics. I’m not sure that too many of the crowd will be attempting to adopt the same stance tomorrow at work. The opening song is also the first gem on the new album: ‘Knock Knock’ erupts from the Institute stage. A clear statement of intent, and not so much a knock on the door as a pounding, aided by Bill Reynolds bass which thunders around the buildings archaic structure. Next up is ‘Laredo’, taken from the ‘Infinite Arms’ album, followed soon after by ‘The Great Salt Lake’. The sound quality in the Institute is almost perfection, essential for a band that attempts to balance anthemic guitars with their signature vocal harmonies.
After ‘Islands on the Coast’, the band make a return to the material from their new album with the instantly likeable ‘A Little Biblical’. All of the new material is warmly received by the audience, made easier by the fact that they will have had plenty of time to digest ‘Mirage Rock’ since its release. Over the course of the evening, Bridwell will take time out to introduce the other band members, and to thank them for their unique contributions. Next up, it’s multi-instrumentalist Ryan Monroe’s chance to step into the spotlight with his lead vocal on ‘Older’; a song penned by the charming piano playing American.
Infinite Arms is sublime, enhanced by the incredible projections that adorn the screen behind the ever-reliable Creighton Barrett. For this particular song, the image is of a Mediterranean-looking cathedral, above which, a sky of a thousand shooting stars shimmer in tandem with the joyous music being played out on stage. The highlight of the night is easily the performance of ‘No Ones Gonna Love You’. The stage is vacated by all except for guitarist Tyler Ramsey and Bidwell, offering the crowd a unique rendition of one of their most impressive compositions. A clear fan’s favourite, some of the crowd begin to sing along with Bidwell’s haunting vocal, only to catch themselves for a moment and refrain from any further accompaniment, opting instead to look on in silent wonderment.
The band reunite on stage, before blasting through ‘The General Specific’, ‘Ode to LRC’ and the stunning ‘The Funeral’, leaving me with a light-headed feeling that can only come from having been privy to a truly epic performance. Then again, it could just be the altitude sickness.
Review by Chris Curtis
Photographs by Steve Gerrard