Concert Photography: Villagers

Dublin’s Villagers were back in Stockholm last night, but this they took the stage as the main act (they opened for Grizzly Bear in the fall). People crowded in to Debaser Medis to listen to Conor O’Brien and his band play their unique mix of indie folk and atmospheric interludes.

Ireland’s rich literary tradition is reflected in O’Brien’s story-like lyrics. Listening to Villagers is a cinematic experience, with O’Brien as the main character, telling his tale, while the band plays the emotionally stirring soundtrack.

Villagers' lyrics are often rather dour, exposing the darker sides of humanity. Even if they are nicely packaged as a pop melody, a closer listen reveals their true nature and watching O’Brien on stage confirms this. He looks utterly pained while he sings, as if the truths he is trying to release are agonizing. He sings with a deep passion and it’s enthralling.

They played songs mostly from their new album, “Awayland”, which was released in January, but they fit in a few beloved tunes from the critically-acclaimed “Becoming a Jackal” as well. Highlights included “Earthly Pleasures” and “Becoming a Jackal” and they closed with the high-tempo crowd favorite, “Ship of Promises”.

O’Brien took the stage alone to play an intimate acoustic version of “That Day”, but was soon joined by the rest of the band and closed with “On a Sunlit Stage”. They left the stage to huge applauds from the crowd, which called in vain for yet another encore.

Everyone was left wanting more, myself included. Thanks for a great night, Villagers.

  

  

Concert Photography: Local Natives

I saw Los Angeles’ Local Natives three years ago at Way Out West Festival and have been waiting to see them live again ever since. They had such a genuine sound and tremendous energy on stage. So, heading to Debaser Medis last night I had pretty high expectations. I can tell you now I was did not leave disappointed.

They opened with Kelcey Ayes crooning in “You and I” but quickly transitioned to more upbeat songs such as “Wide Eyes” and”Heavy Feet”. They played mostly songs from their new album, “Hummingbird”, which was released just a couple of weeks ago, but it didn’t matter that I didn’t know all the words. They were so engaging on stage that I soon forgot that the songs were unfamiliar. The new sounds were peppered with classics from “Gorilla Mansion” and the crowd went wild when they played “Camera Talk” and “World News”.

Local Natives are known for their creative collaboration and it shows. Ayes on keyboard, switched positions with Taylor Rice on the guitar, and later with Ryan Hahn on the second guitar. The transition was seamless, showing not only each member’s individual musical talent but the depth of their relationship as well. I guess that’s not so surprising as the core members are old friends, forming the band in 2008 while Ayes, Rice, and Hahn were in high school together in Orange County.

Just as at Way Out West, they rocked it, playing passionately and giving their all to the crowd. Sweat dripped from every band members face as they left the stage after playing closing the encore with their 2009 hit “Sun Hands”.

I left Medis with a huge smile on my face and I’m sure I was not alone in my post-gig glow. Can’t really imagine anyone being disappointed after seeing Local Natives kill it like that.

Concert Photography: Maps and Atlases

The Chicago-based indie rock band Maps & Atlases rocked Debaser Slussen last night playing to a modest but loyal crowd. The band was formed in 2004 and is known for their artful and complex rhythms and frontman Dave Davison's earthy vocals. They played a variety of songs off "Perch Patchwork" and their most recent album "Beware and Be Grateful", including upbeat hits such as "Witch" and "Fever".

They kept the crowd moving with solid rhythms punctuated by the cowbell and the xylophone while Davison's effortless finger movements along the neck of the guitar mesmerized. They were gracious performers, treating their faithful followers to numerous jam sessions, including an expanded version of "Bugs" for the last song of their encore. All in all they played passionately, kept the energy high, and kept the crowd's hands clapping and heads bopping. Not bad for a Wednesday night in Stockholm. 

  

Concert Photography: Passenger

A friend recently introduced me to the music of Mike Rosenberg, better known as Passenger, and I immediately fell in love. Perhaps it was initially due to the strong nostalgia I felt for Glasgow while listening to "Feather on the Clyde", but that superficial sentiment was soon replaced by true appreciation. The delicacy of Rosenberg's voice is so comforting- like open arms assuring you everything will be okay. And yet the innocence in his voice is misleading. His lyrics are loaded with comic wit and irony, singing every so sweetly in "I hate" with lyrics like "And I hate them magazines, aimed at insecure teens/That make ten year old's race to grow up/Hey kids, let's all be anorexic or better/Eat chocolate until you throw up". Whether the song is a societal critique or a sorrowful ballad of love, though, every word is genuine.

I was only able to see the first few songs Passenger played at Debaser Slussen, but the clarity and strength in his voice made the brief moment memorable. As I was leaving he covered Simon and Garfunkel's "The Sound of Silence" to a sold-out audience and aside from his voice ringing out, not a single person in the crowd dared to make a sound. Everyone was entirely focused on Rosenberg, enthralled by his presence, breathing in the veracity being expelled from his lungs. I felt robbed having to leave after that. What I wouldn't have given to be able to experience more of his music and the soul he so lovingly was pouring out through it. Such a phenomenal talent. I will be sure to catch the entirety of his next performance in Stockholm.

Passenger covering "The Sound of Silence"

Concert Photography: The Tallest Man on Earth

While Kristian Mattsson may not truly be the tallest man on earth, his robust stage presence and soulful voice certainly live up to his stage name, The Tallest Man on Earth. Playing to a sold-out crowd at Cirkus, he opened with a crowd favorite, "King of Spain" and played the first couple songs solo before being joined by his band. The brass and bass backup added depth to songs like "The Gardner", but whether Mattsson was playing with the band, or alone on the guitar or piano his voice belted out clear as crystal filling the circular venue with palpable emotion. At times playful, at times sorrowful, one cannot help be affected his powerful voice, which alone is matched by his prowess on the guitar–picking strings with one hand on the guitar while the other was occupied grabbing a bottle of water or a towel to wipe his face.

He played a mixture of songs both off older albums and off There's No Leaving Now which was released last June, and ended the set at the piano with "Kids on the Run". The applause roared on long after he had left the stage and the crowd did not take their seats again until he came running on stage, leaping over the amps to play "Thousand Ways". He was then joined again by the band for "The Wild Hunt" which slowly faded into Paul Simon's "Graceland" with a surprise visitor, his wife, Amanda Bergman, who plays under the name Idiot Wind. The duet was flawless and one could not help but smile watching them share a mic together, cheek to cheek, singing about the Mississippi Delta. Mattsson left the stage, bowing with his band, blowing kisses and thanking the crowd profusely. This was not a concert to be missed, but if you did you're in luck, as The Tallest Man on Earth will playing a second show tonight 18/2 at Cirkus.