Band of Horses @ O2 Institute, 20th February, 2017
One of the best ways to obliterate the connotations that swarm around the first working day of the five day week, is to head out in search of live music. It’s an endeavour fraught with challenges – many a time I have experienced the efforts of a performer buckle and wilt at the prospect of trying to emancipate an audience firmly locked in fourth gear as a consequence of the Tuesday morning commute tapping its wrist watch and tutting as the self-imposed curfew draws ever nearer – but for those willing to venture out, there is always the chance that they may be reborn as a Monday child, fair of face, not only beautiful, but bequeathed with the promise of good things and good fortune. Tonight favours the bold, the Birmingham audience nestled in the almost full capacity of the O2 Institute are rewarded for their efforts in the form of the glorious Band of Horses.
Band of Horses latest album was unveiled way back in the summer of 2016. Despite a fleeting visit to the UK around the time of release, it has taken until now for the band to descend upon these shores for what could be considered a fully fledged UK tour in promotion of their latest offering. This time lapse has allowed the fan base to familiarise themselves with the album, which results in the Birmingham audience receiving the opening notes of songs from ‘Why Are You Ok’ with as much enthusiasm as they do for the “old favourites” gleaned from the previous three studio albums (yes, there are four, but Band of Horses make the rules tonight).
The genesis of the widely praised ‘Why Are You Ok’ was as a result of a lengthly period of reflection by the group’s primary songwriter, Ben Bridwell, following his disillusionment with 2012’s ‘Mirage Rock’. This accounts for the expulsion of any material from the album in tonight’s setlist. Obviously, this will be a disappointment for those in attendance that hold that album dear to their hearts, but nonetheless, there is plenty of epically crafted material offered up as compensation for those omissions.
Bridwell has been very open in discussing the insecurities that manifested themselves in the recording of ‘Mirage Rock’. He has confessed that his increasing disillusionment towards his approach to song writing and the quality of his lyrics led Bridwell to the realisation that he was simply hiding from an artistic truth. Interestingly, the recording of ‘Why Are You Ok’ – produced by Jason Lytle, with executive producer credentials occupied by the almost impervious to “a flop,” Mr Rick Rubin – was in direct opposition to the familiar reasoning around a band attempting to find a more authentic version of themselves. The accustomed path usually sees a band, having become a slave to the studio, rediscover themselves in the simplicity of recording as a live unit. The exact opposite is applicable to the recording of ‘Mirage Rock’ and ‘Why Are You Ok’. The former capturing a live incarnation, under the watchful eye of Glyn Johns, whilst the latter, flourished in the seemingly endless recording options offered by up the studio, echoed by Bridwell’s admission that there was possibly only one instance during the recording of ‘Why Are You Ok’ where more than one instrument was recorded at the same time.
In addition to Bridwell’s attempts to challenge himself around the creative processes, aspects around the performance of the songs have also been on his agenda recently. On the notion of performing live, Bridwell recently confessed to being far from comfortable being centre-stage, “I’ve just never been comfortable in that role…I tried to be more honest with myself and tried not to hide so much”. That Bridwell has attempted to address this aspect of the role requirements for any lead singer is demonstrated during the very first song that the band perform. The opener is also the latest album’s opening song and it serves as a clear statement of intent. The song is ‘Dull Times / The Moon’, and the group converge on stage with Bridwell at the core, seated behind a keyboard, whilst the looming presence of guitarist Tyler Ramsey assuredly flanks his left. The transition from ‘Dull Times’ into ‘The Moon’ is heralded by Ramsey’s invigorating guitar riff, whilst Bridwell leaves the sanctity of his piano stool, to venture forward armed with just his microphone. There is no sign of any awkwardness or insecurity as the once reticent Bridwell inhabits the once unchartered space, embracing the challenge and delivering on all counts. Next up, the band revisit their 2006 debut album ‘Everything All The Time’, with an epic version of ‘The Great Salt Lake’.
Unsurprisingly, songs from ‘Why Are You Ok’ dominate the evening’s setlist, and by the midway point, the band have blasted their way through ‘Solemn Oath’; ‘Casual Party’; ‘Country Teen’ and the rousing ‘In A Drawer’. As previously mentioned, the fact that these songs have had time to permeate the hearts and minds of the audience ensures that each is welcomed by cheers, foot stomping and fist pumping from many of those around me. Surely, a wholly reaffirming endorsement for the band, and in particular, for Bridwell.
Band of Horses haven’t achieved the kind of following demonstrated by the Birmingham crowd tonight without having created a wealth of impressive material in which to revel this evening. The all encompassing ‘No One’s Gonna Love You’ is announced to the Institute by those unmistakably familiar notes shimmering from Bridwell’s guitar. This is followed by ‘Islands On The Coast’, at the beginning of which, the lighting surrounding Creighton Barrell, and given the drummer’s appearance and powerhouse performance, strikes me for the briefest of moments as an almost perfect recreation of the ‘Smells Like Teen Spirit’ video. It is only later that evening that I realise that today would have been the Nirvana frontman’s fiftieth birthday. Given Band of Horses associations to Seattle, I can’t help but get a little carried away by the fortuitous coming together of my silly thoughts. ‘Is There A Ghost’ and ‘The General Specific’ are thrust upon the jubilant crowd, before the band pause for the briefest of moments, before slaying the room with the song which was made for an encore, it is of course ‘The Funeral’. A thrilling culmination to proceedings and let us hope that Bridwell is a little easier on himself going forward. Then again, that’s why we love these kind of artists.
Reviewer – Chris Curtis
Photographer – Adriana Vasile