LEAD
Grizzly Bear Growls: A Review of the Phenomenal Collaboration between UMS and UMMA through One Great Band
By Sarah Osman and Louisa Ainsworth
November 2, 2009
Initial observations: the first thing I noticed was the disparity in the crowd. When I usually attend an indie show I am overwhelmed by the amount of hip 20 something's in flannels and wayfarers. Yet the atmosphere was completely polar opposite of this.The front row alone seemed to be occupied by only 40 and aboves and everyone seemed to have been dressed for the opera. This fact alone is testament to the critically acclaimed success of Vekatimist, Grizzly Bear's 3rd studio album released last May. With such varying stints; Radiohead, TV On The Radio, Feist, and LA Philharmonic just to name a few, I knew I was in for quite the show. Opening act, Beach House, got the blood flowing with their serene melodies. Victoria Legrand's strong, androgynous vocals ease you into a cold winter bed, albeit one that is welcomed. Her powerful lyrics are touching to say the least and her voice is reminiscent of Imogen Heap, but with a little more punch. A giant triangle structure in the background served its purpose as it began to light up to different shades from somber blues to electric purples. Even further in the backdrop I could make out what looked to be telephone poles with mason jars delicately hanging from them but was puzzled as to why they were there (a fact later to be realized). Beach House pleasantly surprised many audience members with their somber solemnities and slow moving beats as an opening act that will not be easily forgotten.
Without a doubt, the highlight of the night, the pi�ce de r�sistance if you will, was Grizzly Bear's phenomenal performance. Their rising, overlaying harmonies were perfection; their varied, improvised use of instruments was inspiring, and their lighting further complimented the varying highs and lows of the music. Several songs into their set, the floating mason jars illuminated one by one, creating a cascading movement of light across the stage in harmony with the beat. The glorious feeling experienced witnessing this fantastic display was similar to feelings of childhood excitement upon seeing fireflies light up on a midsummer eve. In combination with Taylor's whimsical flute melodies and Droste's harp strings, it really felt like I was in a wooded forest of magical euphony. The effects were further amplified by the dramatic overhead and floor lights alternating colors and pace to the changes in tempo. At one point, during "Little Brother," you could feel the buildup within the song through the signifying lights; changing with neon green backlighting from deep blue to crimson red. The climax of the song saw the lights as flashing beams of white, simulating lightning in a brewing storm. All four members belted in unison; "My God that's not the way," it an utter release of built up musical energy. After the storm, we are brought back down with calm, purple backlighting signifying the resolution of the song.
The crowd was thoroughly enjoying the spectacle with stragglers continually going up to the foot of the stage only to be escorted away by the security guard. Even I, admittedly, tried my hand, but it wasn't until the encore that we were able to rush the stage and I got my place right at the foot of musical genius. It seems that all rules fly out the window during encores as people leave their seats, run to the stage, and snap away on their dslr's eagerly trying to savor every last drop of the ethereal show.
September 26th is a day that will go down in Michigan history. Its sweet residue will continue to inspire and enlighten students of the many wonderful events UMS and UMMA continually put on. Their overlap through the unity of art, history, and music is just the beginning.
Be sure to check out the upcoming music schedule at http://www.ums.org/s_current_season/calendar_events.asp