Almost two weeks ago I had the honor of seeing the great Animal Collective perform for the second time in less than a year. The show was at the Royal Oak Music Theatre in, you guessed it, Royal Oak, which isn't an ideal venue (too big and fancy), but is definitely appropriate for a band of AC's level of popularity. What was interesting to me is that, I had completely forgotten that I had purchased a $20 ticket until the day before. Having seen the band at the Pitchfork Music Festival the previous July, I knew what I was getting into (watching three weird dudes push buttons and bob heads to some sort of trippy light show), and apparently I wasn't all that excited.
First off, I'd like to direct you to the Detroit music blog Deep Cutz for this fascinating critique on the performance as well as the overall atmosphere of the show (at least from Jeff Milo's perspective). Personally, I didn't notice this vibe of fake, snobby neo-hipsters, but after a conversation I had a week-and-a-half later with my best bud Travis, I continued to digest Jeff's blog post. What I got from my dialogue with Trav is this: does the music of larger indie bands like Animal Collective (The Shins were also mentioned) unintentionally become insincere and does it deflate in value and relevance when people who just a year or two ago were listening to mall-emo or the other shit that's on 89X start becoming fans? We debated this for a bit, and I understand Travis' point (considering how seriously he takes his music and how much more there is to our discussions regarding it: not only the technical elements of songs, but artist image, popularity, relevence, personal experiences and revelations, etc.); it totally makes sense coming from him.
Now, here is where I realize why I didn't notice this apparently overwhelming sense of bullshit, pretentious hipsterdom. It's because I don't care who likes what, or how they arrived at it. If Bobby Humphrey or Jimmy Huston (by far the two biggest douchebags I knew of in college) all of a sudden were inspired to get into interesting, worthwhile music (instead of Linkin Park, which, if I remember correctly, was Bobbo's favorite band), yeah, it kind of sucks, and initially I'd want to abandon any band they love. But, more power to 'em, ya know? Stop listening to shit.
ANYWAY... I'll step off my pedestal now. While I love discussing and debating technical aspects and relevance of music, I think I have a fairly pure, maybe even naive outlook on the personal effects of it. This made my experience at the Animal Collective concert (and most other shows I have attended) more enjoyable.
But first, let's rap about the opening act, Grouper. There on this enormous stage to a sold out crowd sat a girl doing God knows what, and I think singing. From the speakers came gorgeous drones, at least for the first few songs. It was boring, and got old fast. This was the time to catch up with friends.
Now, why in the hell is an act like this performing live? Especially opening for such a huge and arguably crucial band like AC? WHAT'S THE POINT? I will admit, however, I'm interested in checking out the most recent record, Dragging a Dead Deer Up a Hill. It seems like Grouper might be good, or interesting at least, headphone music. Or creepy nap music.
Next, after making us wait an additional hour post-Grouper, three completely normal looking dudes, Avey Tare, Panda Bear and Geologist took to the stage. And what did they do the entire time (with the exception of Strawberry Jam's "Fireworks," from what I recall)? That's right: pushed buttons and bobbed their heads. At Pitchfork, they had an enormous, elaborate, seizure-inducing light show. This one was not so, though I still found myself in a trance from time to time. It saddens me that I never got to see them when they toured for Sung Tongs and Feels; when they actually played instruments on stage. I like to assume that the reason for the button pushing instead of instrument playing is due to the absence of that asshole Deakin. There is obviously too much going on in their songs for three people to be able to pull it off with guitars, keyboards and drums. And, just as obvious: Merriweather Post Pavillion barely features any live drums, let alone guitar.
One of my favorite things to occur in a live setting is when a band throws a curve ball right from the start, opening with something completely not obvious. My most memorable experience with this was my third time seeing Death Cab for Cutie (yeah, I know) back in the fall of 2004, when I thought they would be crazy not to open with "The New Year" to that young crowd, but instead, shockingly started things off with We Have the Facts and We're Voting Yes' meandering "The Employment Pages." Animal Collective's decision to begin with the poppy slow burn of Merriweather's "Also Frightened" was not so dramatic, but I still smiled and nodded my head in agreeance.
From there on, the show got even better. The setlist was fantastic, though I was disappointed by two things (more on that later). "Summertime Clothes," "Daily Routine," and the extended and messed-with version of "Fireworks" (when Panda Bear actually played drums to amazing effect) were all obvious highlights. "My Girls" and "Brother Sport" were even much more so, when a portion of the crowd was actually dancing and singing along (also, those are two of my favorite songs of the year so far). They even played two or three new jams (I expected more, since that's what they usually do), and of course they were great, though I don't remember much about them. The best move AC made, though, was including completely revamped versions of more than likely the two best songs from Sung Tongs, "Leaf House" and "Who Could Win a Rabbit?," dissecting and reassembling them through the lens of Merriweather. These instances were where I was most ready to trade in the acoustic guitars for those sequencers and synthesizers.
My two complaints: (1) I had read that they had been playing Feels' "Banshee Beat," probably my favorite AC song ever, on this tour. Where was it on May 18th, guys? And, (2) I was not expecting them to play it live, but was hoping for some "Taste." By far the most criminally underrated song from Merriweather. It's gorgeous, catchy as hell and totally bumpin'. They should incorporate it into their set, and more people should love it as much as I do (it's my second favorite song on the album, and maybe even of 2009).
Okay, so this wasn't the best show I've ever seen in my life, and I guess I have my complaints. But, still, I'm glad this band exists. I have been eating the hype since '05, and I believe they are just as important as Pitchfork says they are.
