Achieving perfection is tough, but not if you're Merrill Garbus, the powerhouse behind tUnE-yArDs. Defining such perfection, in terms of music, can be tricky and difficult to explain as more than just a bias on the definer's part. But when considering the mesmerizing ability Garbus contains and distributes onstage and in the recording studio, the answer seems clear. This lady is perfection. Not to mention the queen of soul funk-pop.
Garbus got her start as a mostly folk artist, then twisted things up monstrously for her 2011 release, w h o k i l l. It's exciting to see artists step out of the box from time to time, but with this newest album, Garbus exploded the box outward, showering us with a million colorful bits. w h o k i l l rumbles from start to finish, touching on style of every flavor, and remains a contender in the mass discussion for best album of the year.
Garbus reminded us of all this at the Wonder Ballroom Monday night, as nearly every facet of music erupted from her mind, voice, and fingertips, leaving quite a few of us dazedly blissed out by the end of her show. She opened the set with what seemed a vocal warm-up, releasing notes high and low, sweet and guttural, and evoking something of a tribal chant as she went along. The first words out of her mouth felt a challenge to the crowd, as well as prep for what her show was going to offer them: "Do you want to live?" The deafening roar back from the crowd stated, “Yes, please yes, we do!” Garbus thanked this by then channeling the delicious urban stomp of "Gangsta" through the mic. It was a powerful delivery, and the sax duo accompanying her added a jazzy blast that was absent in the recorded version.
Looping pedals aided the tremendous sound concoction, every which way but loose, as did a bassist who occasionally provided percussion. With all of this, a slow and sexy “Es-So” was produced, with Garbus strumming her ukulele while the sax players struck pieces of metal to give it a commanding beat. At times that uke of hers felt so very singular and raw – it was breathtaking. She injected such a calm, mature and laid-back essence to each of the songs she performed, never showing off or flaunting her skill. It's easy to guess she truly is the humble soul she presents herself to be, which demands even more respect for her talent.
The Portland crowd got a treat with the introduction of a new song, one that featured low bass and a strong sax growl – it was a darker song than what tUnE-yArDs is known for, but still chillingly good and packed with all the necessary punch. Outdoing the excitement this fresh track induced, however, was the intro to “Bizness.” As the crowd began to recognize the opening to the hit song, Garbus thrust the mic out and picked up the most thunderous response I've ever witnessed at a concert. A wild and gleefully frantic sensation swept over the venue for a second, and it couldn't have been more deserved for the headliner.
Preceding this awesome tUnE-yArDs performance were openers Malaikat dan Singa, who had traveled south from Olympia to unravel one of the strangest sets I've ever encountered. Lead singer Arrington de Dionyso appeared to be the Jim Morrison of today, sending unintelligible groans through the mic as scattered gypsy music played behind him. It was one of my least enjoyed sets ever, and it seemed heavy, heavy drug use was needed to understand it. One member of the crowd answered my, “What do you think of this band?” question better than I think I've ever heard: “They're my only reason to hate Olympia right now.”
Following them was Pat Jordache, a band whose name led me to compare everything about them to the '80s, seeing as how it was one of the only decades the Jordache brand could be worn with trendy pride. The foursome came fittingly clothed in sweaters adorned with neon, geometric shapes and tight jeans, and they frequently touched on beats reminiscent of the decade now thirty years old. One of the very few of the foursome's turn-offs came when the lead singer started the set by emitting obviously fake, droning vocals. He was eons better as a singer as the set wore one and he started to shake that deep-throated sound. I still cannot understand why they think this level of vocals works for them, because when it returned later in the set, it felt like the Silence of the Lambs version of Buffalo Bill had made his way to the stage, and it literally dulled and destroyed the song they were playing. Aside from that, though, the group played a great set, particularly with the shuffling, dirty beat of “Get It” and the songs that had a needling guitar, and Gang of Four feel to them. If Pat Jordache can just learn to keep the lead singer's voice in check, they could easily become a titan of indie rock.
It's nearly impossible to consider they could become something as grandiose and marvelous as what tUnE-yArDs has, though. I say that without trying to sound demeaning to either of the band's openers, but sincerely, what Garbus and her touring band-mates put forth this night was one of the most astonishingly impressive performances I've ever seen. Garbus ended their encore by shouting, "This is where we jump!" and it provoked nearly every person available to do just as she said. At that point, we had all been happily bowled over by the creative genius she has proven herself to be, and would have done just about anything she asked of us. In antagonizing fashion we wait for what Garbus will generate next, but at least we can remain content enjoying the hell out of her already conceived projects until that day comes.
