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July 29, 2006

Low, Live @ the Koko, London, England, 07.26.06 (ATP's 'Don't Look Back' series)

The first and only other time I watched Low perform was in Madrid in 2005 in support of the "The Great Destroyer" release.

Hauntingly beautiful as the show was, the expected and (frankly) required crowd dynamics for a Low performance were missing. And by dynamic what I mean is hushed reverence. Note, there is no way for an inexperienced music writer to describe a Low concert without resort, frequent resort, to words such as hush, ache, haunt, and all the various possible plays thereon, so should you find that kind of description lacking, well, you can finish the sentence for me.

The dynamic was missing because Spaniards like to talk. And talk they will. And talk they did. No matter how much this simple, tallish American standing in front, behind, on top of and below them willed silence, begged, pled, found god and prayed for silence.

"Por favor, Low requiere silencio", I hissed.

Not in España, señor. I will not blame Spain or Spaniards for the tears shed by Alan Sparhawk, the extremely talented guitarist/male vocalist of Low, during the encore; and, despite – or perhaps even more so due to –his tears, that night was transfixing.

But please, chico with the sangria stained jean jacket, callate!

For the second show, I found myself in, I will admit, my least favorite neighborhood in London: Camden, what with its fake grittiness, false sense of danger, and aging proto hippy population. But I digress. Camden, in any event, boasts a fantastic venue: Koko (formerly known as the Camden Palace). So suffer Camden I frequently do. I found myself there again on Wednesday to see Low perform as part of the ongoing "Don't Look Back" series, in which artists perform an entire album from start to finish.

Low took the stage at 9:00 on the dot to perform "Things We Lost In the Fire." Bless!

From the opening guitar cascade to kick off Sunflower, crowd dynamics were optimal. But this should not be surprising in light of the fact that even despite the oppressive heatwave engulfing London, and the concomitant rise of temperatures in the Tube to over 115 degrees, London is a city of silent commuters, nary a whine (nay, whinge) to be heard. Low commanded the silent (majority, perhaps unanimity) to retreat into themselves to the inner confines of a silence so profound, it is truly bizarre to experience in a public space. Clear- and strong-voiced Alan boomed through the song, and Mimi Parker's crescendo drum play pushed us all forward.

Medicine Magazines… The first opportunity on the album to appreciate, for an entire song, the ever-intertwining vocals of Alan and Mimi. As anyone who has listened to "Things We Lost In the Fire," oh, 2,000 times knows, Alan and Mimi are relentless propagandists of increasing world happiness. "...everyone around you dies so young." No, I would not imagine Mimi as a cheerleader.

And then the crowd grew excited. Laserbeam. Mimi in her unadulterated, yes, I will say it, otherworldly, voice. I do want to rest my drunken mind with you, Mimi. And I will give you my grace, such as it is. And everyone in the audience will do the same. Full recognition of the beauty of her voice demonstrated amply by the fact that, even though I would guess over 80% of the crowd knew the lyrics to every song, there was no sing along/sing over component to the evening. Mimi’s voice held firm, subject to a slight vibrato on the last intonation of Laserbeam.

July… Lovely violin accompaniment, which commanded all’s attention towards the end of the song with the la la la las twisting around the violin’s simple pattern – bass and drum fading into background, a marked departure from the studio album. An enjoyable departure. No queues at the bar, but no desire to lose my spot about 20 feet from the stage. Between songs I chatted with an Australian couple that had never seen Low before, and we mocked the way all (we included) were swaying.

With Whore, came a recognition that we were more than halfway through. The bass and guitar ramped up; the bass in particular coursing through, almost hitting the energizing levels in good, not commonplace, electro – or, at least, the type of electro sequence that has a physical effect. See e.g., Paul Johnson mix on "Steve Lawler Lights Out."

Like a Forest… The only other time, besides the closing In Metal, when people bounced up and down. “We used to speak a different language. I wasted my breath on words soon forgotten. Left unattended. They’re moving their feet but nobody’s dancing.” Actually, Alan, we were.

Closer... Many people’s introduction to Low came through this song. The band plays it even slower than the album version, dredging in the depths of its lugubriousness. Should I ever lose things in a fire, I know the song I will play when I sit down in the low-slung chair in the hotel room, away from the cinders.

In Metal… The last, and my favourite song. Tambourine reappears, and Mimi sounds as if she is harmonizing with herself. I will have to check, but I am not sure that is possible. Alan's guitar playing is assured and driving, and somewhat interestingly, the end leaves us with 30 seconds of drum and guitar, but no vocals.

Although I believe she is singing about either a lost or possibly lose child, I have my own internal narrative overlaying the lyrics. That narrative is not to be shared. A glorious experience.

-- Jeff O'Brien

Posted by Keith O'Brien at July 29, 2006 11:55 AM

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Posted by: Simon at April 17, 2007 12:38 PM

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