Mew @ Pitchfork Music Festival 2009
The toughest decision I had to make all weekend long was whether to see Mew or Grizzly Bear during the 7:30 slot on Sunday. I had just seen Grizzly Bear at Minneapolis’ Cedar Cultural Center (and will see them again later this year) and hadn’t seen Mew live yet, which was the clincher for me, and ultimately made the decision an easy one. So I fought my way through all of the people streaming out of the festival’s Balance Stage area (either to see Grizzly Bear or to secure a good spot for the evening’s headliners, the Flaming Lips) and prepared for the bombast of the flamboyant Danish band, which was playing as a five piece this evening.
The group arrogantly staggered the arrivals of each of the three core band members during an extended introduction to set opener “New Terrain,” the excellent first track on Mew’s forthcoming record. The massive waves of sound gradually swept over the somewhat small but fiercely dedicated crowd as the band really got things going, and even though it was one of the louder sets I heard all weekend, the sound was crystal clear and mixed perfectly. “Circuitry Of The Wolf” served as a moody introduction to the stellar groove of “Introducing Palace Players,” which got the heads in the crowd nodding while the crisp, angelic vocals of Jonas Bjerre soared above the din. The propulsive rhythms of “Chinaberry Tree” was the set’s first full selection from the band’s impressive back catalog, and was quickly followed up by “Special,” which was a funky blur, and one of my favorite songs from the performance. “The Zookeepers Boy” slowed things down a bit, but the massive chorus truly took flight into the early evening sky.
The keyboard laden, mournful “Sometimes Life Isn’t Easy” was next, and found Bjerre’s high-pitched vocals competing with the loud drumming of Silas Jørgensen. It was a good song, but meandered a bit, leaving me thinking about what Grizzly Bear was playing at that moment. But those thoughts were quickly dashed when the first dynamic notes of “Apocalypso” were played. It was one of the best songs I heard all weekend: loud, swirling and vast, and the frenetic guitars of Bo Madsen and Bjerre electrified the audience. “Saviors Of Jazz Ballet (Fear Me, December)” was next, and was a bit of a come down after the lofty heights of “Apocalypso,” but the song eventually picked up and finished strongly. The brief “Small Ambulance,” served as an introduction to the last song of the 50 minute set; the sprawling, exquisite “Comforting Sounds.” It was a gorgeous way to end the wonderful, riveting performance, and Mew showed why Trent Reznor chose the band as the opening band for much of NIN’s “last” tour. At the end of the night, with Mew’s towering, histrionic pop songs still ringing in my ears, it was clear I made the right choice.
[Review by Erik Thompson, photos by Jon Behm.]
well done for refraining from your grizzly bear impulse