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Yeasayer at Guggenheim with Tanlines, Rachel Sherman and host Max Silvestri

3 Nov, 2009

published in New York, Photos, Rock, Original Media, Live Reviews, Reviews

So, a new album, and a new downloadable single (did you download it?) from Yeasayer is plenty of cause for celebration but it is tinged with a sense of anticipation. All Hour Cymbals was a fantastic record filled with a dense consciousness with a clearly defined self of sense in terms of influence and sound. Now with Odd Blood, the sophomore slump fears are in play.

But I’m getting ahead of myself. Before that, before the worrying (which is for next year), Yeasayer put on a show at the Guggnenheim on Friday with Max Silvestri, Rachel Sherman and Tanlines as part of the “It Came from Brooklyn” series.

The setlist was very similar to the one I had experienced over at Pier 54 over the summer at Hudson River Rocks (read our review) which combined a mix of new and old, which focused on the new in the beginning and the old at the end.

For the most part, the Guggenheim held up well as a performance space but naturally there are going to be problems. Some areas the sound was muddy, but c’est la vie. You’re checking out a show at a museum, looking at some amazing work by Kandinsky (the guy loves his horse and rider motif) and wearing funky 3-D shades….so relax.

I noted earlier that the original drummer, Luke Fasano, was replaced and at the Hudson River performance I thought the band did an admirable job. There was something very primal and rhtymic that Fasano brought to the sound that will be hard to duplicate. Nevertheless, the band still sounded like Yeasayer and the new drummer and percussion support duo do well to enhance and fill out the sound.

“The Children” opened up the night at the Guggenheim. A moderately paced song, it was a nice introduction to the electronic elements that are prevalent in Odd Blood. “Tightrope” and “Amblin Alp” were up next and the latest single drew a nice cheer from the crowd. It sounded bouncy live, loose and carefree and the breakdown/falsetto added some flair to the night.

While it is hard to see, the big to-do about this show was the interesting light show. The 3-d glasses acted as an enhancement to the lighting. Causing swirls, flares, and minute streams of trailing light, the glasses were playful and added some nice charm. Just don’t wear them too long or you may get a headache.

Chris Keating sounded great on vocals as did Ira Wolf Tuton on bass and Anand Wilder on lead guitar. The plethora of sound and the vibrant nature of the hooks and bassline still spiral together nicely.

I was hoping for some new treats as the next couple of songs off of the new album, “Madder Red”, “I Remember”, and “O.N.E” which sounded great have been making their rounds as well. For fans who have yet to hear the new material, plenty were left satisfied. The wordly influences are still there but there are new tricks, including the poppy and electronic nature of the new material that might surprise fans.

The band wrapped up their hour long set with a collection of songs from All Hour Cymbals that had the crowd dancing and singing along emphatically. “Red Cave”, “Wait for the Summer”, “2080″ and “Sunrise” closed out the set. The last song had everyone in good spirits, singing spiritedly. The band, the lights, the art were done. Another great night was had on the Guggenheim.

Read more about Tanlines, more picutres of Yeasayer, Rachel Sherman, and Max Silvestri after the jump.

Brooklyn’s own, Tanlines, put on a great opening set that was entertaining and engaging. The duo worked hard up on the stage, always multi-tasking and getting the most from the minimal set of equipment. The dancey duo had enough beats and variety to warrant a second listen.

The set was somewhat short, but it definitely brought the party to the Guggenheim. The vocals were a little hushed, but with all the components going on, it did not derail the band. Slight mic issues delayed the set but the band shrugged it off with grace.