Fleet Foxes at the Vogue

Friday, April 29

After something as monumental and landmark as the final LCD Soundsystem show, seeing Fleet Foxes at the Vogue seemed a little underwhelming. I feel hesitant opening with such a descriptor, and while it's certainly not my thesis on the matter (if I even need one), it was and is an opinion that stubbornly refuses to yield to other much more positive thoughts. Rest assured, this is merely comparative analysis and should not be used to infer that the show was in any way disappointing- it was quite good. Not every show needs to be a superlative spectacle- a grand finale as James Murphy and company just put on. Nevertheless, I couldn't help but shrug the feeling. Part of the issue is that Fleet Foxes' particular brand of pop folk is a partly subdued and mostly intimate offering; a smaller venue like the Media Club seems more appropriate for their stylings. But the Fleet Foxes brand has expanded beyond the diminutive proportions of such tiny environments resulting in something of an unsolvable paradox for the group. Their songs as constructions and intentions are not designed for larger venues, but tell that to their ever growing legion of followers and fans.

Speaking of which, I started out as a little surprised, and eventually became astonished at how calm and stationary the entire crowd was during the event. It's not exactly a Death From Above show I realize, but no one was pushing and shoving or brazenly violating the personal space that I reluctantly give up at concerts. There was no obnoxious release of pent up testosterone fulled aggression, that people accept as part of the experience. It was kind of odd after a while, less like being at a concert, and more like being in line at the Soup Nazi's kitchen where fear of removal for even the slightest transgressions kept everyone in line. The crowd was certainly energized and enthusiastic- songs like “Mykonos” and “Blue Ridge Mountains” elicited thunderous roars of approval. Still, people just sort of carved out their own spot and were strangely content, no matter what their proximity to the stage was. There was still a few crowd related annoyances that started out as irritating and devolved into downright unbearable. The hippie with the top knot that was literally more verbose than the band, and not nearly as eloquent comes to mind. I hope the rest of the crowd found themselves situated around people who had at least some semblance of concert etiquette. You can elbow me in the head all you want, but shut the hell up.

While this was the first time seeing them live, I was reasonably familiar with how Fleet foxes conduct themselves via recorded performances and interviews. With a sort of dignified respect for the medium and dutiful sense of professionalism, yet still being refreshingly forthcoming and folksy, eschewing the mystic wisdom their music seems to convey for congeniality instead. They improvised, talked with the crowd. If the at times deathly seriousness or sage like rustic qualities of their music imply a group of hermit like recluses, only occasionally emerging to play and then receding into the darkness- well, they're not. They're very friendly and pretty cool. At one point, someone in the crowd screamed out, “how come you never play the piano solo!!!” after they finished playing “He Doesn't Know Why”. Robert Pecknold, slightly surprised by how, let's say forthcoming, the person was took it as an imperative and promptly sat down at the piano and started playing. It's not even that long or integral part of the song, but the fact that he so happily obliged had the crowd beyond amused.

While Fleet Foxes closest association with genre would be some interpretation of folk, which implies a sort of simple, minimalist, quaint kind of aesthetic, their version of it is decidedly high concept. While the core of their songs are often simple string based melodies, they are supplemented and expanded through sweeping scales, extended vocal and piano interludes, and the occasional blend of acoustic and electric guitar freak out solos. Although I'm convinced the more ambitious elements of their music were unfortunately dialled back with their new album. While not especially technical- its some strings of varying categories, piano, and a drum set, all designated for simple melodies- they are an extremely tight group. Unlike groups like say, Best Coast or Wavves- which I saw not too long ago- every member and instrument is meticulously synched together and work in tandem. It's not something that is noteworthy when listening to an LP or any other recording, as post production tends to iron out any undesired inconsistencies, but in a live act such a quality is instantly noticeable and revealingly integral. This isn't necessarily a normative description, or by extension a criticism of performances from groups like Best Coast or Wavves. There's certainly something to be said for the loose playfulness they so recklessly exude. But if your bothering to read this, then you probably want an idea of the specifics of how Fleet Foxes play live, so I think this is a helpful point to examine.

Robin Pecknold's and back up vocalist Skyler Skjelset voices came off wonderfully throughout, but particularly during the striped down instrument free vocal solos. The way their voices project in such a rich and soothing way, while readily apparent whilst listening to their albums, becomes drastically enhanced when heard live. Rather than simply protrude forward it tended to envelope and surround the audience, which can partly be attributed to the intentionally designed internal architecture of the Vogue theatre- a venue that tends to always have superior acoustics. Songs like “Mykonos” and “The Plains/Bitter Dancer” highlighted this a great deal. Oddly enough when they devoted such singular attention to other aspects and instruments, such as performing “The Cascades”, which is basically a palate cleansing acoustic solo disguised as a song, I found my own attention wandering. Hearing these vocal and acoustic solos performed live reveals that their purist minimalism can be utterly engaging in some respects, but a little anemic in others.

It was a blast hearing songs like “Ragged Wood” and “Helplessness Blues”, the high points of both of their LPs. “Ragged Wood” is brimming with energy and a comparatively lighting fast tempo when accompanied by the more sedate and darker offerings of their second album. Meanwhile “Helplessness Blues”, the track they closed their set with was probably the one most people came to hear. I was impressed by how Pecknold considerably altered his vocal inflections and delivery making the experience seem fresh and unpredictable. However, I question the logic of closing the night with that track; it would have been better to place it somewhere in the middle of the set list. Fleet Foxes aren't a band that need to go out with big climatic bang to finish the set- this isn't Arcade Fire. “Oliver James” would have been a much more suitable finisher. The way the instruments don't just fade away, but rather seem to cede the stage just to Pecknold's voice as he sings the last few words on his own creates such a definitive and conclusive sentiment. Alas, they didn't even play it at all. Small gripes like that aside, the sophistication and professionalism of their live game and approachability of the group left me considerably impressed. They may not have had a dazzling light show or other elaborate stage constructs- but they didn't need them.