Yo La Tengo played a triumphant set at Roseland Ballroom on September 25th. The show was full of fun and surprises including MC duties by John Oliver who assuaged the wait in between sets between The Black Lips and Yo La Tengo. In the front lobby guests were greeted by Susquehanna Tool and Die Co., a rockabilly trio with a tongue-in-cheek mentality. The audience was a mix between old and young and the New Jersey band gave one heck of a performance.
The band, coming off their most successful release yet with Popular Songs (which debuted at #53), was set to play their last New York area show at the very large Roseland Ballroom and spared no expense. The first thing that will be discussed ad nauseum is the gorgeous light show by Joshua White and Gary Painter. Providing the backdrop, the lights enhanced the performance striking dynamic landscapes using a multitude of effects. The lights were an ever-shifting set of arresting visuals.
But it’s not just about the effects, as Yo La Tengo provided more substance with a set that spanned the history of the band. The songs of Yo La Tengo are much like the reflection of the shifting tableau of American indie rock. From the frenetic and abstract to the refined and calm, the band started with “From a Motel 6″, a song from last decade that sounded at home in this era.
The hazy and exploratory “More Stars Than There Are in Heaven” from Popular Songs followed, providing a contrast to the first song of the set. The song took its time, led you astray and let you hang there until it decided it was time to finish. Another turn around the musical corner and there was “Avalon or Someone Very Similar” with Ira Kaplan pulling off his best falsetto.
Roseland did an admirable job holding up to the sound. Considering the band can go to either end of the spectrum from subdued and intricate to loud, it’s a challenge to pull off and recreate the intimacy in such a large setting. It was good but not flawless; the vocals were at times too hushed with the guitar and bass being a little too low in the mix. These are just minor criticisms that did not deter from the night of music.
The band all did double duty, Kaplan played guitar, sang and worked on keys. Georgia Hubley played drums, played guitar and sang, James McNew was on bass, drums, guitar and sang as well. All three rotated and added different dimensions to the music.
The band really hit its stride with “Stockholm Syndrome” bringing fans alive and creating a nice wave of renewed energy. Things mellowed out for a brief period before Yo La Tengo introduced a backing strings section to the night. The strings enhanced “Here to Fall” and “If It’s True”, allowing the songs to mirror their studio counterparts.
The band let their guards down and strapped on acoustic guitars, giving a more introspective feel to the night. Ever progressing, there was something for everyone. “Mr. Tough” and “Tom Courtenay” were nice pop driven songs that gave a sense of freedom and youthful energy.
The tempo slowed, the vocals were quiet and the audience was allowed to be pulled into the quieter numbers or drift away, with the music acting as the springboard, like with “When It Gets Dark”.
Another highlight from the night included the triplet of “Cherry Chapstick” in its freakout glory, the sauntering “Periodically Double or Triple” with its groovy bass line, and the arresting “Deeper into Movies”. The epic “Blue Line Swinger” closed the main set. It was slow, building slowly while teasing and simmering. The slow burn of the song finally paid off with Kaplan abusing his guitar for every note that it’s worth.
A brief interlude and the band came back on for an encore. “Autumn Sweater” kicked it off, followed by Dog Meat (where they pretended to be their alter-egos Condo Fucks) and closed with a sweet cover of “Whole of the Law” originally by The Only Ones. Kaplan could not quite remember how it started and the humility in the beginning only added more weight to the song.
Yo La Tengo Setlist
From A Motel 6
More Stars Than There Are In Heaven
Avalon Or Someone Very Similar
Stockholm Syndrome
Tears Are In Your Eyes
Here To Fall
If It’s True
Mr. Tough
I’m On My Way
Tom Courtenay
When It’s Dark
Cherry Chapstick
Periodically Double Or Triple
Deeper Into Movies
Nothing To Hide
Blue Line Swinger
Encore:
Autumn Sweater
Dog Meat (Condo Fucks)
Whole Of The Law
Before Yo La Tengo, there was plenty going on.
The Black Lips (read our Pool Party review and Bowery Ballroom review) are always a fun act to witness (although all the talk now is what happened later in the night). The set was rollicking but somewhat subdued. The band sounded very tight with only the rare spitting and one make-out session that recalled the band’s more legendary exploits.
Songs like “Drugs”, “Short Fuse”, “Hippie Hippie”, and “Dirty Hands” were played very well and showed off the bands solid songs. “O Katrina” was played and “Bad Kids” closed the night. It was as if the varied crowd made the Lips act a little more refined and reserved, which is not a bad thing at all. The youthful in the audience were freaking out, some older people were jamming to it on the side and some avoided it. For me, it was a nice way to get excited for Yo La Tengo.
The Susquehanna Tool and Die Co. started off in the lobby. The trio were dressed in an older style and the upturned lighting enhanced this effect. The songs were rollicking little affairs covering a wide range of topics, including hot dogs. The sweet crooning voice leads you one way and next thing you know, the affections are not of love, but hate. It was fun and a great scene before walking in to the floor of Roseland.
John Oliver was the MC and had plenty of fun material. Jabbing good-naturedly at America and some of their choices, Oliver gave the crowd some distraction and plenty of laughs to tide them over during the brief waiting period.
More pics below.
Yo La Tengo
Black Lips
John Oliver
Susquehanna Tool and Die Co
