It's the first warm night of the season, and the Wonder Ballroom is brimming with smiling patrons clad in shorts and sundresses that sway slightly in the building's blasting A/C. Like a sparkling blond mermaid circa 1986, Architecture in Helsinki’s Kellie Sutherland appears behind her instrument in a sequined green evening gown. The rest of the band members are dressed far less formally, with frontman Cameron Bird in elastic waist sweatpants. No matter their attire, the towels at each of their stations suggest they are prepared to sweat. Beginning with "Desert Island," which is most appropriate in this weather, the band grabs hold of the audience immediately. Folks swing their hips, and the band members pour their whole hearts into the performance from the beginning.
Perched in the front row, I am enchanted with the energy and joy emanating from the stage. As the performance grows, a gaggle of errant teenage boys at the middle of the crowd becomes unnecessarily rowdy, heckling the band and attempting to start a mosh pit in the throes of this indie pop filled evening. Are they lost on their way to loiter in front of a 7-11? The boys crash violently into other concertgoers, and many people scramble to protect the vinyl records they've purchased before the show. I'm too old for this malarkey, and soon flee for the safety of the 21+ corral at the opposite side of the room. Meanwhile, Ms. Sutherland moves from her position behind the glittery blue synthesizer to sing lead on several songs and showcase her sweet dance moves. Between songs, she and Bird pause to reprimand the moshers and remind them to respect their neighbors. These musicians haven’t forgotten what it's like to be on the other side of the stage, and my love for the band grows.
In spite of momentarily having to play crowd nanny, the band is joyous and theatrical. The five members perform a delightful choreographed routine number during "That Beep," complete with elbows swooping through the air in unison. The venue's finicky sound system is behaving, and all instruments and vocals come through loud and clear. Among the band's more interesting tools is a Steinberger headless guitar, which some members of the crowd may remember from Bill and Ted's Excellent Adventure. Following danceable numbers "Like it or Not" and "Yr Go To," the band provides a slower song to quell the mania in the crowd. High energy resumes with "Escapee," the new single from the recently released Moment Bends record. Both Bird and Sutherland have big voices that carry well throughout the room even as the performers retreat from their microphones.
The band is all grins and animated gestures as the night stretches on, and Sutherland raises the pitch of her voice to channel 1980s Madonna. Dancing onstage is mimicked by the audience below, and the atmosphere drips with absolute gladness. Together, the band creates the perfect soundtrack to this summery evening. Once they begin the well-known "Do the Whirlwind," the dance party thickens. Everything comes to a crescendo with more choreography and enthusiastic booty shaking from the band. Audience members' hands wave above their heads, and the band jumps high into the air like human pogo sticks as they conclude the set. Shows are so much better when the artists are clearly having fun together and don't make this a chore.
Though their latest album has received lukewarm reviews, there is nothing mediocre about tonight's electrified performance. Stamina remains high throughout, and the encore begins with a delicious cover of Londonbeat's global hit from 1991, "I’ve Been Thinking About You." Amusement ensues, and many people pull their phones from their pockets to search for the song's original artist. Once it's over, the band makes the odd choice to end the high-energy night on a sleepy, mellow note with "B4 3D." It calms the mood a bit too much, but crowd members are all sweat and smiles as they retreat into the balmy air. The band praised Portland thoroughly as their encore drew to a close, and on behalf of my city, I declare them welcome any time.
Opening the evening was Hooray for Earth, who began with drowsy synthesizer-based music. Led by a drummer with a half drum machine, half traditional kit, the beat picked up after an intro song. The singer, who resembled a young Noel Gallagher, spent several of the between-song periods crouched in a ball on the floor. Both his guitar and the bassist's were scratched, duct taped, and graffiti-adorned like the wall of a seedy punk club's bathroom. Aesthetics aside, something wasn’t quite meshing between the band members, and the bassist and guitarist seemed unable to hear each other effectively as their performance continued.
Remedying the situation was the band's choice of live sampling. With the samples and drumming sufficient to overpower other difficulties, Hooray for Earth became more enjoyable. They get points for being purists, rather than relying on a laptop to create the desired effects. Sounds happened on the fly, as nature intended. On a less positive note, their lyrics were muddled and difficult to understand. Furthermore, the final song had quite a bit of feedback. That may have been intentional, as it only accompanied certain notes. Intended or not, the band did nothing to discourage the screeching, which negatively affected both the conclusion of their set and my opinion of it.
