Cults at Venue

Cults is relatively new to the indie pop scene; it's something of a wonderful yet curious rarity these days that a group's dynamic can be described as simply and directly as "indie pop"- so thanks Cults. This is a group that is also fairly new to my own particular arsenal, as I suspect is the case with most burgeoning fans. Furthermore, this is their fist serious tour, which is something I perhaps did not appreciate when I saw them. Since their inception, this is the first time they have exposed real live people to their distinct brand of stylings. I use the term "distinct" with purpose and intent in this case as I do find something compelling and unique about Cults. The best descriptor or reference point I can liken them to is a synthesis of Bats for Lashes and the Brunettes. Front woman Madeline Follin and back up vocalist Brian Oblivion (cool name!) display a personal camaraderie and commitment to each other in a way that reminds of the Brunettes, and the way they use light and fleeting instruments and arrangements to dance just on the edge of darker tones seems like a tactic similar to Bats. Yet the two groups that I use here as reference points for Cults operate on very different poles, so the fact that Cults avoids any discontinuity in their album and on stage seemed so acutely comfortable with the sound they have cultivated is worth praising.

I am not often afforded the opportunity to witness a band so early into what I hope is a prolific and fruitful career, and I'm grateful that in my case, Cults was an exception. This is a group, simply by the nature of their contemporaries and pedigree from which they no doubt draw inspiration, that is charting a course through potentially dark waters, adrift with the hazardous temptations to give into aloofness, sarcasm, cynicism, and apathy- basically all things indie music is often decried for. My time with Cults first LP is enticing, but not revelatory enough to ensure or convince me that they can successfully navigate these waters. If in the future Cults begins to loath the musical process that I think they show promise in and display a genuine care for, eschewing it for something pretentious yet marketable, I will be dismayed, but not necessarily surprised. I hope I'm wrong. In the mean time I will relish the experience of seeing them in such close proximity to their genesis. Cults makes sure you know this- they are young, fresh, full of zeal and even a slightly energetic naivety. Most of this comes from Follin; the way she sings particularly. She just tires so damn hard. She didn't care about looking silly, bared no concern for disrupting or deviating from the modern day pop template so callously ascribed to women. She sang her heart out. For the majority of the time it really did seem that she was hurting herself just a tad. As if she was over extending not only her vocal cords, but her very muscular and skeletal structure. Her almost self destructive commitment to her role made her sound a little less smooth and polished compared to their LP, but I quite liked it. She was a bit more choppy but she made up for it with intensity and immediacy. Rather than suffer for fashion, Follin, in a dated slightly conservative sun dress, suffered for music. Beyond that, Follin and Oblivion were both very congenial and interactive with the crowd- although some obnoxious fans took their accommodating spirit to it's limits and just wound up being loathsome hecklers (why am I always in such close proximity to these people?). At one point Oblivion mentioned that this was thus far the largest crowd they had ever played for. Tilting my head away form the stage, I noticed that I had never seen Venue so packed. I hope some sage like stage hand conveyed similar sentiments to them at some point.

Putting aside their enthusiasm, how did they sound? Well pretty good. Their rhythms didn't flow quite as effortlessly and elegantly versus their studio counter parts and Follin isn't quite so effervescent live. But the band is competent and at times exceptional, like during the final base solo of "Oh My God"- it was fantastic. Of course, they concluded their initial set with "Rave On", and it did not disappoint. I alway apreciate when a band, in their debut album crafts a song that is structurally designed to close a live a set in an epic and satisfying way. It was something missing from the Best Coast show by comparison. On the other end LCD Soundystem has a plethora of such songs, hence their multiple encores. Their opening track (for both the album and the show) “Abducted”, is probably my favourite, and certainly the track I always play when trying to get people into the group. It sounds great live, but some of the intensity and impact of the vocals shifting back and forth from whispers to wails didn't seem as potent. Considering they don't exactly have a glutenous amount of material yet, I was surprised to hear Follin announce that this show would only be the second time they had ever performed "Bad Things" live. Although as they performed it I could see why, as such a track done live is a daring and bold maneuver. Follin sang as calm and collected as her frail nerves would allow her to, completely unaccompanied for almost half of the song. On the album the song has a not terribly robust, but still integral piano and clapping arrangement backing Follin up; it's not much but it's something. During their performance, this part didn't kick in until half way through. I never noticed such stark minimalism on the album, but live, it's unavoidable, and quite brave even. The fact that she maintained her poise and still commanded the attention of such a fickle audience (these people couldn't even be bothered to brush up against the stage for the openers) via a potentially cripplingly isolated track is worth mention. I understand that it's daunting but I hope they continue to tour with that song.

It was a good show, nothing especially mind blowing, but everything about it was refreshing. In this band, I saw a zeal and enthusiasm towards music simply on those merits alone, not based on some nebulous conception of fame, credibility or some other equally vapid or fleeting measurement. They were sincere. Cults had already earned my appreciation; now they have earned my respect.