Manchester Orchestra, The Front Bottoms, O'Brother
Sunday, November 10 at The National
Between their headlining shows and tours with the likes of Brand New, Say Anything, and Silversun Pickups--all of whom I was more than willing to check out when they came within a hundred mile radius of myself--I've probably seen Manchester Orchestra more than I've seen any other band. Their appearances as openers were my introduction to the band, and I was quickly converted into a huge fan of this Georgia five-piece, made up of young adults who sing about dying, God, and love. The band’s debut, I’m Like A Virgin Losing A Child, was front to back an impressive album that quickly brought them heaps of hype. From 2006 to 2008, if anybody had asked me what new band they should check out, Manchester Orchestra was sure to be my first suggestion. That soon changed as Manchester Orchestra started getting played on MTV and the radio. Finally, something that deserved attention started to get it. From that point on, I found myself having to explain that the band was neither an Orchestra nor from Manchester a whole lot less often.
Truth be told, I haven’t been to a Manchester Orchestra show since 2009. I was still listening to the band’s recordings, I had just been burned out on their live show. Their last album, Simple Math, was a higher concept record that seemed to throw some fans a bit of a curve ball--in all the right ways. It was a step forward for the band and offered a higher level of variety for a group that always gravitated to heavier, rougher sounds. I wondered exactly how much had changed since I last saw these guys.
Seeing Manchester Orchestra perform live is always a good chance to see and hear bands you probably should pay attention to. I could hear the first band from outside of The National when I walked up. Fellow Georgians O’Brother play rock music that is loud and, well, loud. Think flannel, sweat, distortion pedals, and overarching bombast and you’re not far off from what makes O’Brother’s live show unique, and rather intimidating to the ears. That is not to say the band doesn't have melody, but hooks and catchy choruses are probably hidden somewhere in the sonic display if at all. Having seen this band before in a smaller, bar-like venue, it seemed they were made to excel in the bigger, theater-sized location that The National provides. It all makes for a very different listening experience than if you were to put on one of their records. While the title “shoegaze” might be appointed to an act like this, it's never droning or navel-gazing. The sound is mostly just pulverizing and headbanging, in a good way. The live setting made for a new interpretation of their material, which--combined with the energy of their performances, which are full of power stances--made the band a whole different beast in this context. O’Brother are just different enough to perhaps gain a sizable cult following, especially with front man Tanner Merritt’s charismatic presence and his band’s impressive chops.
Up next was The Front Bottoms, a band that I assume would give Daniel Johnston a smile if he ever stumbles across them. Hailing from New Jersey, The Front Bottoms are gaining a strong following with sped-up indie rock that starts out acoustic but explodes with a full band sound, usually after a couple of frantic testimonial sentences. It’s a formula for sure, but it gets the crowd moving and certainly grabs the attention of those who may be unaware. Think a jittery but less experimental/weird Why?, and you are not too far off. Feeding off the crowd was the band’s strong point, as there was evident affection for them from chanting to singing along. Between songs, singer Brian Sella gave unforced small talk and was even coerced to chug his drink while being applauded by fans. The set of eight or so songs flew by, a couple of them featuring a set of wacky waving inflatable arm flailing tube men to help bring the excitement that was already high.
Before there was any hint of the band emerging from backstage, the crowd began chanting for “Manchester” over and over until Manchester Orchestra arrived onstage. Coming out the gates with “Shake It Out” was a rousing choice to kick things into gear. There seemed to be a tension from the band towards the crowd early on. Singer/guitarist Andy Hull in particular seemed unsure if the crowd wanted to rip the band apart or destroy something in their honor. Hull definitely takes his performance seriously, and it pays off. That early nervousness eventually seemed to go away, but his decision early on to tell an overenthusiastic young man to “shut the fuck up” was a funny icebreaker.
Say what you will about rock crowds or even those of the indie rock persuasion, but Manchester Orchestra’s crowds, at least, seem to feature a slight female majority. It’s nice to see a crowd that contains a great gender diversity that doesn't shy away from harder rock. It's hardly a shocker, as Andy Hull’s lyrics are sincere, introspective, and thoughtful enough to draw in both men and women, but whatever they've tapped into as a band, other groups should take notice.
The reaction to new material from the band’s upcoming album, entitled Cope, due for release sometime in 2014 was quite positive. The songs definitely recalled the sound of the band’s sophomore effort, Mean Everything To Nothing, and continued the heavy power-rock vibe with the scream-singing that fans have come to expect from Hull. With Manchester Orchestra, it’s hard to pick one album as a definitive fan favorite. The band was in good company, as any song in their repertoire would have been appreciated for all of it's worth. Bouncing from the hits, like “I’ve Got Friends,” to the menacing and impressive “Virgin,” to a somewhat deeper cut like “Colly Strings” showed off not only what Manchester Orchestra is capable of as a band, but also why they have such a devoted following. Ending on a cover medley of Willie Nelson’s “The Party’s Over” and The Mountain Goats’ “No Children” was a very interesting treat that the band pulled off gracefully.
While the songs have changed ever so slightly, Manchester Orchestra is still as intensely strong a live band as I've known, and I'm glad I've had their music with me as I've grown into adulthood. The backbone of this band is their work ethic, and they want you to get your money’s worth. Manchester Orchestra are still super tight, enthusiastic, and energetic, even if Andy’s mic is still a little too low for my liking. If you haven’t had a chance to check out this consistently good band, I implore you to do so.