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I'm still short on time to write anything original here, as I'm in the midst of editing a 90-page paper. However, KEXP just played a song by Bat for Lashes, which reminded me that I still haven't posted the review I wrote for KEXP last year of their show at Neumos. That's basically a quick copy-and-paste job, so here it is.
On Wednesday August 26th [2009], I went to Neumos to see Bat for Lashes. I’d heard their in-studio performance at KEXP back in June [2009] and liked them, but hadn’t been able to see their club show that night. I had a vague idea that I shouldn’t miss them this time around, but wasn’t at all prepared for how right I was.
Opening the show was Other Lives, a progressive rock quintet (including cello and some harmonium and violin amidst the standard guitars, keyboards, bass, and drums). Unfortunately I arrived late and missed about half of their set; what I did hear was very serious-sounding music, but good, and I would’ve liked to hear more.
Bat for Lashes is officially the stage name of singer/musician Natasha Khan; as a live band, Bat for Lashes includes Ben Christophers on keyboards and autoharp, Charlotte Hatherley on bass, backing vocals, and additional keyboard, and Sarah Jones on drums (including a timpani). Khan herself played some keyboard, autoharp, and percussion in addition to singing. Right from the opening song “Glass” (off [last] year's album Two Suns), I was overwhelmed by their presence and power. With a lighter touch, Khan’s vocal style might be called ethereal, but here it was more like a strong autumn wind blowing over the mountains of bass and drums, under twinkling keyboard stars. That imagery may seem a bit precious, but the stage set encouraged such thinking with its mix of Christian iconography and tapestries featuring wolves on mountaintops under the full moon. Indeed, in both musical and visual style, Bat for Lashes appeared to be a full-on cross of worldbeat and goth, and songs such as “The Wizard” and “Two Planets” reinforced that impression. That said, Khan wasn’t too precious and serious to get down and groovy, even announcing “It’s time to dance” before the main set closers “What’s A Girl To Do?” and “Pearl’s Dream,” both of which featured strong dance beats. She began a five-song encore with a stripped-down version of “Prescilla,” just her and her autoharp, before bringing back the band and building up to the final dance rocker “Daniel.” In all, this was an amazing show: Khan was a phenomenal performer and her band matched her musical prowess. I’ll be sure to jump at any future chance to see them.
My photos didn't come out as well as I'd hoped, but some of them are decent, and you can view the set here on Flickr.
On Wednesday August 26th [2009], I went to Neumos to see Bat for Lashes. I’d heard their in-studio performance at KEXP back in June [2009] and liked them, but hadn’t been able to see their club show that night. I had a vague idea that I shouldn’t miss them this time around, but wasn’t at all prepared for how right I was.
Opening the show was Other Lives, a progressive rock quintet (including cello and some harmonium and violin amidst the standard guitars, keyboards, bass, and drums). Unfortunately I arrived late and missed about half of their set; what I did hear was very serious-sounding music, but good, and I would’ve liked to hear more.
Bat for Lashes is officially the stage name of singer/musician Natasha Khan; as a live band, Bat for Lashes includes Ben Christophers on keyboards and autoharp, Charlotte Hatherley on bass, backing vocals, and additional keyboard, and Sarah Jones on drums (including a timpani). Khan herself played some keyboard, autoharp, and percussion in addition to singing. Right from the opening song “Glass” (off [last] year's album Two Suns), I was overwhelmed by their presence and power. With a lighter touch, Khan’s vocal style might be called ethereal, but here it was more like a strong autumn wind blowing over the mountains of bass and drums, under twinkling keyboard stars. That imagery may seem a bit precious, but the stage set encouraged such thinking with its mix of Christian iconography and tapestries featuring wolves on mountaintops under the full moon. Indeed, in both musical and visual style, Bat for Lashes appeared to be a full-on cross of worldbeat and goth, and songs such as “The Wizard” and “Two Planets” reinforced that impression. That said, Khan wasn’t too precious and serious to get down and groovy, even announcing “It’s time to dance” before the main set closers “What’s A Girl To Do?” and “Pearl’s Dream,” both of which featured strong dance beats. She began a five-song encore with a stripped-down version of “Prescilla,” just her and her autoharp, before bringing back the band and building up to the final dance rocker “Daniel.” In all, this was an amazing show: Khan was a phenomenal performer and her band matched her musical prowess. I’ll be sure to jump at any future chance to see them.
My photos didn't come out as well as I'd hoped, but some of them are decent, and you can view the set here on Flickr.
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