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Get Breaking News on your cellSXSW 2008: My oh my ...
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July 2008
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Maggie Mae's rooftop is one big sardine can. It's a horrible place to play a showcase: the only sightlines are just in front of the stage because the remainder of the upper floor is tiered downward. So if you want to see a band as well as hear it, you have to squeeze into the roughly 60-by-30-foot area at the head of the space. Well, I'm here, against the rear rail. The Autumns just wrapped up a set that sounded like a meld of OK Computer-era Radiohead, Richard Hawley and, well, British Sea Power, which is what I'm here to see. Last band, last showcase slot, last venue, last day. It's about time. My sinuses may be somewhat normal now, but my lower back is about to start screaming at me ... I only lasted five songs, but man I wanted more. The Brighton, England band isn't the most exact, nor the most showy, nor the most transcendental act in person, but live it builds momentum in a very similar way to Arcade Fire (no wonder that comparison's been made before). It becomes a breathing, primitive and familial entity in spite of what each of its members want to do as individuals on stage; beyond that, the totality of the band's delivery is very hard to pinpoint. The touring version's six members include a horn player and violinist, and along with some vehement antics and a knack for finding pockets of pop prescience within dichotomous song structures (Win Butler can actually learn a bit about that from these lads), British Sea Power brings the power. Even when it's off (guitars and voices were both out of tune during "Waving Flags"), it redeems itself immediately with an 'on' moment, such as the version of "Canvey Island" that immediately followed. Our tireless Austin Bureau photographer, Erich Schlegel, stayed for the finish, which he described as "incredible." That's it, then. I start hitting the gym three times a week again and playing tennis. I'm not missing any more incredible endings. |
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