Grizzly Bear & Here We Go Magic @ the Cedar Cultural Center

(Here We Go Magic)

Two charming and buzzed about Brooklyn bands sold-out the Cedar Cultural Center in Minneapolis on Sunday night, as Grizzly Bear and Here We Go Magic both played engaging, ethereal sets that easily won over the capacity crowd. Both groups featured buoyant, delicate soundscapes and vocal harmonies that sounded impeccable on the Cedar’s recently upgraded sound system. But while it was definitely a chilly June night outside in Minneapolis, it was a hotbox inside the Cedar, as both the bands and the overflow audience combined to heat things up considerably. With all of the press and accolades that Grizzly Bear have been receiving lately, this show could’ve easily sold out a much larger room. But the 600+ people that were lucky enough to be in attendance seemed quite thankful to see a band that has crafted one of the year’s best albums (Veckatimest) in such an intimate venue.

(Here We Go Magic)

(Here We Go Magic)

(Here We Go Magic)

Here We Go Magic opened things up nicely, the five-piece band played a spirited, winsome set that featured some new material in addition to tracks from their self-titled debut record. Opening the night with the playful, twisted carnival dirge of “Everything’s Big,” the band kicked things off to a positive start in a set that focused on more traditional song structures as opposed to the atmospheric instrumentals found on their record. Vocalist and guitarist Luke Temple guided the band through a couple of songs that aren’t featured on the record, and it appeared the band was still learning some of the parts, as Temple would instruct them a bit on when to come in with their parts. And if these prove to be new songs on a forthcoming album, I like the direction the band is heading in.

(Here We Go Magic)

(Here We Go Magic)

Temple took over on keyboards for the pulsing polyrhythms of “Only Pieces,” which was stellar and moody, finely fusing the electronic leanings of the band’s recorded work with their somewhat more conventional live performance arrangement. The sprawling “Fangela” was next, and Here We Go Magic really stretched out the song’s structure and tone effectively. The set closed strongly with an exquisite rendition of “Tunnelvision” that found all members of the group layering their vocals over each other as the mercurial song propelled onwards. The track ended the well received performance on a high note, and set the stage effectively for the headliners.

(Here We Go Magic)

(Here We Go Magic)

(Here We Go Magic)

The whimsical aesthetic of Grizzly Bear was on full display during their brilliant 75 minute set, as the band’s endearingly jaunty songs cascaded over the rapt audience. The blissful harmonies of the four piece group rang true all night, from the wonderful opener “Southern Point” onward, and their intricate textures and layers of their songs flourished in a live setting. The guitar work and dueling vocals of Daniel Rossen and Edward Droste provided an absorbing dichotomy to the band’s sound and style, as Rossen’s vocals are a bit more tranquil and textured while Droste’s tend to soar boldly along with the melody. Add to that mix the intentionally distorted and echoey backing vocals of bassist Chris Taylor and the subtle singing of drummer Christopher Bear, and you have a unique and thoroughly modern four-part melody that is like the Beach Boys distilled through decades of bands trying to sound like the Beach Boys, without any of them ever quite getting it right. Until now.

(Grizzly Bear)

(Grizzly Bear)

The choppy beginning to “Cheerleader” gave way to the gorgeous, melodic chorus with Droste and Taylor blending their vocals exquisitely. And the band carried that fervor into an exceptional version of “Little Brother (Electric),” one which grew in passion and intensity, guided along by the steady drumming of Bear. “Knife” drew a loud applause of recognition from the crowd, and proved to a smolderingly majestic highlight of the set. It was a haunting and fragile rendition, and the perfect soundtrack for a somber Sunday night. “Fine For Now” again found the band exploring the boundaries of vocal harmonics, as well as the sound system of the Cedar as their jarring guitars kicked in loudly during the explosive finish to the track. When Rossen sat down at the keyboard before the next track, I knew we were about to hear the stunning “Two Weeks,” which I’d been looking forward to hearing Grizzly Bear perform live since they played the song on Letterman nearly a year ago. Quite simply, it was remarkable, with Droste’s elegant vocals sounding crisp and golden, and Rossen’s lively keys adding to the dynamic sound of the song.

(Grizzly Bear)

(Grizzly Bear)

The band mellowed things out a bit with a tranquil rendering of “Colorado” that was carried by Droste’s mesmerizing vocals and Taylor’s constant tinkering with the sound, layering radio static and a muted saxophone over the leisurely melody. Each song was met with warm, appreciative applause, causing Droste to riff a bit on a “Sunday night feels right in Minneapolis” improv, and led the band to thank the audience repeatedly during the set. But their stately and ornate songs were thanks enough for the crowd, none more so than on the grandiose “Ready, Able,” which was simply stunning, and as poised and dignified as a pop song can be. That was quickly followed by the slow-burning medley of “I Live With You” and “Foreground” that was a shining example of the simmering atmospherics the band can create with their music, which can be as much about mood as it is about melody at times. “Foreground” was especially diaphanous, with Droste’s delicate vocals easing the fragile timbre of the song gently onwards.

(Grizzly Bear)

Another standout from the superlative Veckatimest is “While You Wait For The Others” (which has been hyped since another TV performance over a year ago, this time on Conan), and their version at the Cedar was nothing short of phenomenal with Drossen guiding the song along with both his gentle voice and playful guitar riff, until the band chimed in on the euphoric chorus. It was gorgeous, and sounded absolutely sublime in the sweltering air of the Cedar.

(Grizzly Bear)

(Grizzly Bear)

The band closed their set with the second half of “On A Neck, On A Spit,” which played out as a subtle thank you to the admiring audience, and found the band again fusing their vocals nicely amongst the sonic discord of the track’s finish. It was an exuberant exclamation on a set filled with countless highlights. The only downside was not getting the band’s customary encore of the Crystals’ “He Hit Me (It Felt Like a Kiss).” I’m not sure if the venue had a curfew or not (it was around midnight), but after the stellar set I didn’t really feel cheated in the least, as Grizzly Bear gave a voice and a vision to one of my favorite albums of the year in a performance that exceeded even my lofty expectations.

(Grizzly Bear)

(Grizzly Bear)

[Review by Erik Thompson, photos by Jon Behm.]

Setlist:

Southern Point
Cheerleader
Little Brother (Electric)
Knife
Fine For Now
Two Weeks
Colorado
Ready, Able
I Live With You/Foreground
While You Wait For The Others
On A Neck, On A Spit

Grizzly Bear: Purchase | Official | MySpace | Wikipedia
Here We Go Magic: Purchase | Official | Twitter | MySpace

Also: Grizzly Bear “Veckatimest” Review