Wednesday was the third time (for second time at the Cradle) I've seen the much-lauded Elephant Six troop from Athens. And, as always, they failed in every way possible to disappoint.
When you see of Montreal, you know you're going to hear great music; you know you're going to get a great live performance. What keeps you coming back, to quote my favorite political actor of the late 20th and early 21st centuries, are the "known unknowns." The on-stage theatrics, the costume changes, the audience involvement: you know they're all coming, you just don't know how.
Kevin Barnes has a way about picking out great openers, too. (E.g., They tapped the now teen-infectious MGMT well before they worked their way into cute girls' iPods and everyone else's guilty conscience (don't lie), as well as the oh-so-fabulous Sugar and Gold.) This time,the opener was the densely-populated (two divas, a bad-ass sax player, a helmet-wearing keys player, two exceedingly talented guitar players, and a drummer who somehow managed to keep up the rhythm) Noot d'Noot:
Like I said, of Montreal failed miserably to disappoint. Alas, there was no coffin filled with shaving cream, no on-stage faux-hanging (both featured when I saw them last, in Durham), but there were plenty of gas mask-wearing bishops:
and, of course, the obligatory trash can-mounted feather blaster:
I'll certainly see these guys (and gal) next time they pop up in the triangle. It's a safe way to spend your show-cash: you know what you're gonna get, but there are sufficient "unknowns" to keep you coming back.
T.A.
[...] Wednesday, June 2, before their performance in Carborro (which you can read all about here), I, DJ Ones, got the chance to sit down with bassist Davey Pierce from Of Montreal. In addition to [...]
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