Review Fri Apr 02 2010

Review: Spoon @ Aragon, 4/1

By Michelle Meywes

Anyone who's ever been to the Aragon Ballroom (and stayed sober long enough to actually hear a band) knows that the sound in the room leaves a lot to be desired. Britt Daniel shared the same sentiment as Spoon took the stage last night. "Do people always complain about the sound onstage or is it just me? In the 22 years I've been doing this I've never heard sound this bad. I really wanted it to be good." As much as he complained, you would ever know he was having issues hearing; the show was prototypical Spoon: tight perfection.

The evening progressively brightened up as they mixed in more of their well-known pop hits, but started off rather minimal with a single strand of white lights strewn across the stage and Britt solo under a spotlight for the song "Me and the Bean." The setlist early on was heavy on tracks from their newest album, Transference — which was somewhat of a surprise album, in more ways than one. It would be hard to say the album was anticipated because it wasn't wide knowledge that the group was even working on a new project, and the minimalism and more ominous tone is a departure from the radio-friendly pop tunes of their previous album, Ga Ga Ga Ga Ga.

Some say this is exactly why you shouldn't let the band produce their own album, but I disagree. I see Transference as a treat to themselves, a harkening to their roots, recording the kind of music they want to play, and if some fans think it's "boring," they can relax, because I'm sure their next effort will be a hook-laden follow-up to Ga Ga Ga Ga Ga. After something like 22 years (16 as a band) Spoon has been around long enough and been successful enough to afford the luxury to record an album that might not be as widely accepted, but will still be enjoyed by fans who give it more than the initial listen.

Transference may have taken some time to warm up to, but the intricacies are worth it. The off-beat singing on "Is Love Forever" at first listen might sound out of sync, but one you realize it's intentional, it's a delight to get in the groove and bounce your head to. While Transference might not be dripping with hooks, it has its shining moments that draw you in long enough to get turned on, and while it may feel like a tease, sometimes that feeling of wanting more is exactly what makes you appreciate the build up, and is just as satisfying. The perfect example is "Who Makes Your Money" which exemplifies the driving tone of the album, but has a slight pick up at the end before abruptly cutting off.

The only other complaint I have about last night's show (besides the super early 6pm start time and afore mentioned sound issues) isn't even necessarily a complaint as much as a request — to loosen up on stage. Musician Carrie Brownstein (now "All Songs Considered" contributor) noted after their SXSW appearance that they never stray much from the recorded version of a song, and I think that's where they lose some fire. Sure Britt will get down with his guitar, and Jim Eno hits the drums a little harder and louder at key moments, but they never completely draw you in.

But maybe that's why Spoon has the solid reputation that they do. They're professional, consistent, reliable. And you know what? We'll take it.