Indie dreambill awes excited fans

By Jordan Sargent, Associate Editor
Oct. 2, 2007

LCD SOUNDSYSTEM

It's weird seeing LCD Soundsystem onstage. Lead singer/maestro/hero James Murphy — though he is responsible for orchestrating and playing nearly all the instruments on his records — mans just a microphone, and half the time, he doesn't even face the crowd. Good thing he's connected and legendary, though, because his touring band is probably the best in the world. The five or so of them are rather anonymous (save the guitarist, who's a member of the also very good band Hot Chip), sloppy-looking guys (save the really cute keyboardist) who look terribly out of place when thrust into the limelight next to both their more famous singer and the more famous act they open for.

Beauty doesn't matter at rock shows, though, and the show put on by LCD on Friday night at the Starlight Theatre in Kansas City — who you can most often find described as "dance-punk" or some incarnation thereof — was a rock show. They played nearly anything and everything from their catalog that could be sped up and turned up. "Movement" — during which Doyle propped one guitar next to an amp while he bashed away on another basking in the lacerating feedback — and "North American Scum," especially benefited.

The set's best and most beautiful moment came during song of the year (decade?) "All My Friends," when a minute or so in, the stage lights turned off and a huge disco ball turned on, illuminating the stage and crowd. The resulting effect looked like something out of a degenerate prom. Those covering their eyes weren't being blinded.

Patrick Daugherty

Arts and Entertainment Editor

THE ARCADE FIRE

The Arcade Fire really isn't just a band — it's a modern rock orchestra. And with all the pomp and self-importance of an orchestra, all ten (!?) touring members sauntered on stage, led by their conductor Win Butler, to five overlapping rants from TV evangelicals. Yes, it was one of those shows.

But although Arcade Fire might be the Coldplay of alternative rock, both feature over-the-top, slightly douche-baggy stage set ups (in Arcade Fire's case, more creepy than anything), oftentimes overbearing political statements (Haitian proverbs, anyone?), and dangerously preachy songs, Arcade Fire proved Friday night why they are one of the most praised and revered young bands in the world, instead of just mom rock for the masses.

Although they didn't awe the way "opener" LCD Soundsystem did — I am not sure anyone can — from set-opener "Black Mirror" to closer "Wake Up," they played with an unrelenting energy and tension that gave their epic songs the gravitas of their albums and an air of true importance.

Not that they took themselves seriously the whole time. There was enough instrument trading to make you think they had somehow fit even more people on stage (Régine plays drums, who knew?), and Butler did his best to overwhelm the theatre workers when he urged, "Don't be afraid to come stand in the aisles or nothing." They played a cover suggested to them by a cover shop patron earlier that day at a coffee shop and brought the house down with thrilling renditions of Funeral's "Neighborhood #3 (Power Out)" and "Haiti."

Is Arcade Fire somewhat pretentious? Yes. Are they a spectacle worthy of your worship? Definitely.

Share on Facebook

Indie dreambill awes excited fans

More Oct. 2, 2007 Arts Stories

Most recent Arts Stories