The Arlene Schnitzer Concert Hall is usually reserved for more traditional concerts that follow a classical vein and attract an older set. Every so often though, they get a contemporary act through their doors and we are reminded just how wonderfully versatile the hall truly is. Recently, the contemporary act gracing the lovely halls of the Schnitz was Sufjan Stevens. With his large band of musicians and a top-notch opener, Stevens reminded us all why we first fell in love with him and showed off the new directions his music has taken in recent years.
Before Stevens took the stage, DM Stith treated the audience to a stripped-down set of folksy songs, peppered with his smooth voice and delicate guitar strumming. Coming out all on his lonesome, he sat solitary in the spotlight looking small in the great expanse of darkness that cloaked the stage. When he began playing though, his sound filled the room with an enormity you wouldn’t expect from just one guy. His first song was a perfect introduction, simple and sweet with just the guitar to aid his strong voice. Transitioning into his next song, Stith playfully remarked, “This takes complete concentration,” as he dove into a set of live loops that served as a rhythm section. This live looping continued on through his set as he provided his own vocal harmonies and more rhythm and percussion. The only other musicians to join him on stage were a trio of trombone players for “Thanksgiving Moon” and “Victory.” Stith was funny and personable on stage.
Stith spent a fair amount of time chatting with the audience, talking about his previous visit to Portland. On that trip he played at the Doug Fir Lounge and talked about how wonderful it had been there, saying, “It was like being in Twin Peaks.” While his set was short and simple, it was never lacking in beauty or skill, and served as a perfect opening to the chaos to come. Before his last song, “My Impatience,” he graciously thanked the audience and joked about having to go put on a pair of silver pants, saying that he needs “at least 10 minutes to squeeze into them.”
After a short intermission, Stevens and his crew filed out onto the stage; flanked by a 10-piece backing band, you could tell this was going to be quite an experience. The set started with “All Delighted People,” the title track off of his latest EP. Clocking in at eleven-and-a-half minutes, it’s an epic of a song full of weighty instrumental arrangements and that trademark Sufjan Stevens orchestral feel. This song is an excellent reflection of the new direction he has taken as an artist with Age of Adz and All Delighted People. Intense and full of feeling, Stevens has almost entirely departed from the controlled, planned-out structuring of his previous work into a more playful and temperamental mood. The soft sadness and joyful purity of Illinois and Michigan have been switched out for brilliant chaos and apocalyptic beauty. Stevens himself however was as controlled as ever, riding the ups and downs of his sound and all the while keeping his cool. Backlighting the stage, a huge screen showed projections of space with planets and stars whizzing through the sky. "All Delighted People" smoothly drifted from operatic chanting into climactic musical explosions. At the end of the song, Stevens aptly remarked, “That was kind of a dramatic entrance, but that’s how we roll.”
Following “All Delighted People,” Stevens moved into the synth-y, electronically infused “Too Much.” His dancing was amazing and a little unexpected as he kept his straight face and smoothly jerked through the motions. The projections of space and planets were replaced with sequences of people dancing (including some of Stevens himself) and abstract illustrations over the video. The set continued with songs from Age of Adz and a few from All Delighted People. Deeming "apocalypse" the theme for the evening, Stevens playfully talked about how intense his set was so far, introducing the song “Heirloom” as a “palette cleanser.” Stevens and his band masterfully walked the line between the epic cacophony in song like “I Walk” and more mellow tracks like “Futile Devices.” For some of the quieter songs like “The Owl and the Tanager,” most of the band left the stage leaving Stevens to quietly play to the audience with the minimal backing of a couple singers or a few instruments.
When he wasn’t crooning, Stevens chatted to the audience, explaining some of the new sounds he’d been trying and how his music has evolved. After “The Owl and the Tanager,” Stevens took his time lecturing about Royal Robertson, an artist and self-proclaimed prophet who served as inspiration for Age of Adz. His artwork, which was featured in the album packaging, also made a few appearances in the projections during the show. After talking about Roberts’ life and how his work had influenced him, Stevens dedicated “Get Real, Get Right” to Robertson.
The biggest surprise for the evening was when the band began playing “Impossible Soul.” The song, which clocks in at roughly 25 minutes, flows like an entire album itself. Stevens described it as “the epic mini-series.” The song showcased his skills as a guitarist beautifully and even featured some auto-tuning, which was actually a lot cooler than you might think. Despite its hefty length, there was never a moment where “Impossible Soul” felt too long or uncomfortable. It’s constructed like a masterful journey, with hints of the psychedelic and some costume changes from the band that featured piles of flower leis and light-up visors.
The night ended with “Chicago,” plus an encore featuring “Concerning the UFO Sighting Near Highland, Illinois” and “Casimir Pulaski Day,” the first songs of the night that weren’t new material. Delicate and sweet, they were the perfect ending to a chaotically wonderful show and proved Stevens hasn’t let go of his sweet side. Good concerts sound nice, but great concerts are more than just a band playing music; they’re a performance that engages the senses on higher levels. This was one of those shows. Stunning in sound and visuals, Stevens and his band are the complete package and a live show not to be missed.
