Sylvan Esso
Express Live – November 3, 2021
November 5, 2021
I had been debating whether or not I wanted to see Sylvan Esso when they came to Columbus; they’ve been on my radar since 2014 when “Coffee” came out and I was just a wee sophomore in high school. Like most things that were cool and ultimately good for me, I ignored Sylvan Esso for more exciting, radical acts like Catfish and the Bottlemen and Weezer (yes, I loved Everything Will Be Alright In The End).
What’s funny is I’ve held Sylvan Esso on this very high pedestal of like, musical exceptionalism for a long time, despite knowing very little of their work. I know a lot of cool people who listen to their music and what’s included in my rotation is very good. Alas, where my inhibitions lie I don’t know, but the tickets were $30 so I bought one. Maybe it was the impulse, or the notoriety, but mostly for reasons I can’t name, I was more excited for this show than usual, and pre-concert butterflies swarmed my brain.
I don’t usually feel the need to comment on the crowd, but the cis, het, white men of Columbus really showed out in the 5-panel hats and condom beanies. Absolutely outstanding work, Indie brethren. According to Sylvan Esso, a “wild” amount of people showed up on a Wednesday; they must not know Ohioans will use literally any excuse to drink on a weekday.
Sylvan Esso comprises lead singer Amelia Meath and producer Nick Sanborn, and while the duo may look unlikely standing next to one another, there is something very natural about the way they interact on stage. Amelia is outspoken, an incredible singer with an outrageous range and stage presence. Nick is far more reserved, but still passionate and excitable at just the right moments. It’s a dynamic that provides a sense of completion, like everything in your universe, and theirs as well, came together so you could make it to this moment, this show. Music really do be beautiful like that sometimes.
Every moment was a highlight, from Amelia’s dancing (there was much of it) to the howling and the three song encore. The setlist was perfectly curated and laid out, easing the crowd in “What If” before launching into “Ferris Wheel” and following up with several additional bangers (for lack of a better term).
Then Amelia made her way up to a (symbolic) rooftop for dancing. Upon her return to the ground floor, she and Nick literally created the riff for “Hey Mami,” Amelia singing each key and then Nick somehow ensuring we heard it seconds later, seamlessly pieced together and a near perfect match to the record.
“Free” was equally noteworthy: Amelia stood stage right, watching her reflection in an oval shaped mirror as a beam of light bounced off and shone away from her, eventually making its way across the crowd. She did so very slowly, almost like she was making sure everyone got the opportunity to not only see themselves, but maybe see themselves how they see her? How free everyone would be if only we viewed ourselves the way our loved ones and true friends do! How liberating would that be if we gave ourselves the grace we give others, or the love and admiration we give celebrities we don’t even know. I’m glad she made me think about it, so anyone reading this has to think about it too.
Hearing “Coffee” live was incredibly cool, another nod to my bebe indie days (it came in at #56 on the Alt108 2014 countdown). They finished up with “Play It Right” before returning for a three song encore to my greatest joy. One is certainly appreciated but three is outrageously kind, so thank you Sylvan Esso.
As I am sure is evident by now, I am very glad I decided to attend this show. Some words I jotted down when I got home were “fantasmic,” “limitless” and “powerful.” Even finishing this up a few days later, they don’t sound over the top or silly to me. All shows are special (and a privilege!) but Sylvan Esso caught me off guard in more ways than one, quietly making an impact when I wasn’t looking. You know, the way things do that are cool and ultimately good for you?
Find Sylvan Esso featured on my latest creation sad girl autumn 2021 (below)
IDLES
Newport Music Hall, Columbus, Ohio
October 10, 2021
Despite lead singer Joe Talbot exclaiming that his voice sounded like “a bag of dicks”, IDLES delivered an absolutely iconic set full of unforgettable crowd dives and LOTS of spitting.
I don’t go to a lot of what would be considered hardcore rock concerts, so this was a new experience for me to say the least. The closest I've ever come to “moshing” was when I saw The 1975 in Pittsburgh when I was 16, and this was more involuntary as the 13 year-olds around me were so determined to get closer to Matty Healy they gave no fucks elbowing me in the side to get there.
I did not participate in the moshing at IDLES, but I was more than happy to spectate, and there was a lot to take in.
I was introduced to IDLES by an old co-worker, who upon my prompt for albums to listen to in order, said I should try Ultramono. I gave it a shot and was very taken aback by how much I liked a lot of the songs (despite not being able to understand a lot of the words, you need closed captioning for how thick their accents are). It was a quintessential quarantine album, a new and refreshing addition to my less than exciting daily routine.
So when I saw they were coming to Columbus I figured it may be a good change of pace from my usual suspects. I was expecting the show to be nutty, but it exceeded my expectations in every facet: moshing, crowd surfing, spitting. I was out of my comfort zone, but that’s what this whole concert-going experience is about, so I soaked in the discomfort and did my best not to get hit by flying objects (or people).
The crowd was singing so loud I was convinced that I had to be the only one who didn’t know the entire setlist. Everyone else made up for my shortcomings though, because my ears were ringing the entire time (and continued to do so for a few days after). Talbot’s voice, or lack thereof, was a non-issue, with the band doing a lot of the singing, and the crowd taking over every word when necessary.
During the first song, “Colossus” Talbot prompted the crowd to split in half (or rather he said “SPLIT THE FUCKING CROWD.”). Once they successfully parted the sea, everyone went absolutely fucking nuts and started thrashing into one another, and I finally found out what moshing was.
I really only knew a few songs, mostly from Ultramono. “Grounds” is a popular single that speaks to their anti-war, proletariat attitude and is a treat to hear live, raising my pink fist and screaming “Black is beautiful” with a couple hundred new friends.
Some other notable (is it redundant to say unexpected?) highlights were covers of “We’re In Heaven” by Bryan Adams and “All I Want For Christmas Is You” by Mariah Carey following “Love Song.” Guitarist Lee Kiernan somehow appeared at the back of the pit, eventually (and very slowly) making his way to the front of the crowd and back onstage for the closing song “Rottweiler.”
Prior to the last song, Talbot thanked the crowd for coming and creating a safe space for the band to be themselves. He lauded the use of kindness, love and empathy to take care of one another, and encouraged the crowd to create a world where everyone felt welcome. And while I haven’t been to many hardcore rock and roll concerts, I can imagine this kind of rhetoric doesn’t come up often.
That’s what I initially loved about IDLES though: on the outside their music is aggressive, loud, even somewhat unsettling at times. But inside they’re really just a bunch of softies, like me!
IDLES in concert certainly did not disappoint. There were no theatrics other than the ones the band themselves created, a testament to the way that really good music doesn’t need much outside the band to be truly good. The bold and brash way IDLES performs leaves little to the imagination in terms of how their next performance could top their last, but I have a feeling no crowd ever leaves a show feeling unsatisfied or uninspired.
See my comprehensive 2021-2022 show season playlist below.
MUNA
Jacobs Pavilion, Cleveland, OH
September 28, 2021
Much like their stardom, my love for MUNA has grown exponentially in a very short period of time. I was first introduced to MUNA upon release of their Spotify Sessions in 2019 and took a great liking to their cover of “Motivation” by Normani. I added a few songs from Saves The World to my daily rotation because I heard they’d be opening up for Phoebe, but I wasn’t really sold (however I wasn’t NOT sold).
And then we were all graced with “Silk Chiffon” and I knew I’d be hopping on the bandwagon prettyyyy, prettyyy, pretty quick. And I did, sue me.
Between “Silk Chiffon” and seeing their opening set for Phoebe in Columbus, I was very smitten. Katie Gavin was born to be a lead singer: the outfits, the frenetic energy, the way she simultaneously led the band and the crowd without fault. Naomi McPherson is a subdued yet powerful force onstage; every so often I’d be so taken with Katie’s dancing or Jo’s playing, then I’d look over to find them smiling so big, radiating absolute sunshine. And Jo (Josette Maskin, formally)! A guitar goddess for the ages. I’d say more about Jo, but then we’d never see the end of this post.
After seeing MUNA live, it makes sense that their music didn’t resonate as much with me before I saw them live: I am not sure their records do their music justice. That’s not to say that their recorded albums aren’t good, but they have so much energy on stage the songs are completely different. They started with “Number One Fan” before launching into “Stayaway,” both of which I wasn’t really a fan of until I saw them perform them live.
The recorded version of “Stayaway” is a heart wrenching portrayal of the acute awareness felt after a break up: how everything around you, no matter how mundane, can lead to thinking of a person you thought you once knew, and the gut punch that follows.
Katie’s range and stamina is so incredible that she didn’t miss a beat in the first few lines (if you listen you’ll understand why this is such a feat), and after the first chorus it’s like something erupts in all three of them and the show really begins.
“Navy Blue” was one of the tracks that stuck out to me pre-fangirling; it doesn’t seem to have a ton of significance compared to other songs on Save The World, yet it made the setlist. Sonically “Navy Blue” isn’t something that would normally catch my eye (ear?) ((see here for my playlist of unforgettable first listens)), but I love the soft jump of the guitar riff behind the words, which are quite clever also. Referencing the deepest shade of blue as a representation of the deepest sadness, in addition to the asphyxiation that happens while holding your breath waiting for someone to love you when it simply was not meant to be. So many shades of blue; Joni would be proud.
Following these first three were “Everything”, “Winterbreak”, MUNA’s self-proclaimed country song “Taken” and a very fun dance session to “Pink Light.”
And then.
I am, like, pretty chill in most instances. But when they brought out Phoebe to play “Silk Chiffon” I lost all control. It was like a month old at that point and I don’t think people had realized how good it was yet because it felt like I was the only one who was more excited about the song itself than Phoebe’s presence onstage (which like, okay fair, it was my third show at this point).
When I really enjoy a song, I hear or learn something different about it every time I listen. So I’ve thought about “Silk Chiffon” a lot, and hearing it live is one of those things that I will never, ever forget. I’ll never run out of space in my brain for songs because ones like this help to clear my head and go somewhere else for a few minutes. “Silk Chiffon” is the perfect amalgamation of sad girl pop and self acceptance that both MUNA and Phoebe have mastered, ultimately solidifying both of their roles as an irrevocable force in the alt-pop genre (and a solid place in my heart, love y’all!!).
MUNA closed their final set opening for Phoebe Bridgers on the 2021 Reunion Tour with “I Know A Place,” a sweet nod to the closing track of Punisher. Even if they weren’t aware, Phoebe fans were lucky to experience a show from MUNA. Katie, Jo and Naomi house an irreplaceable energy that works harmoniously to provide audiences (or at least me) an unforgettable show experience.
I say that because MUNA released Saves the World right before the onslaught of the pandemic, so it’s clear that they’ve been hoarding tour level energy for nearly two years. This tour finally afforded them the opportunity to release the fire and radiance that surrounds Saves the World, and release they sure did.
See my comprehensive 2021-2022 show season playlist below.