Concert Review: Sigur Ros. Live at The Roy Wilkins Auditorium. April 3rd, 2013
(i stole this photo from the city pages write up about the show. their writing may be absolute shit, but they have a press pass...)
For the most part, I tried to ignore the lights of the
concession stand, and I tried to look past the giant Michelob Golden Draft
banners hanging on the walls—but it was near the end of Sigur Ros’s set when a
gentleman two rows ahead of me came back to his seat holding a sack of popcorn
in one hand, and a hot dog covered in toppings in the other—it was then when I
couldn’t help but wonder what we were all doing here.
First thing’s first—let’s all take a moment to learn the
correct pronunciation of the name Sigur Ros. Many people pronounce it “See-Gur
Ross.” But that’s not correct. It’s actually “See-Hur Ros.” The “Ros” is said
very quickly, and the “G” has more of an “H” sound. And while we’re at it, the
band’s name, when translated out of the native Icelandic, means “Victory Rose.”
Were you even aware?
It would seem that Sigur Ros have achieved what one could
call “stadium status.” Four and a half years ago, the last time they rolled
through the Twin Cites, they played at the Orpheum Theatre—a “classy” venue one
would say. The Orpheum holds around 2,500, and it’s all seated. It’s a
“historic” theatre, built in 1921, restored about twenty years ago, and is one
of three “historic” theatres in the Hennepin Theatre District, in downtown
Minneapolis.
The Roy Wilkins Auditorium—excuse me, the “Legendary” Roy
Wilkins Auditorium, holds a little over 5,000. It was constructed in 1932, and
was re-named after Wilkins—a civil rights activist—in 1985, four years after
his passing. The Roy is part of the congested St. Paul River Centre complex,
and most well known as being home to the Minnesota Roller Girls.
Upon entering the lobby for the auditorium, there were
beverage vendors posted up before you could even walk past the merch
table—“Beer here. Get your ice cold beer here,” they informed us. Yes. Because
ice-cold beer, and music for Iceland go so well together.
Depending on how hard you wanted to be monetarily assaulted
by Ticketmaster, there were there tiers of seating—the General Admission
Balcony, where we were—a free-for-all starting in row H; the Reserved Seating
Balcony, assigned seating covering rows A through G; and last, the Main Floor,
which was standing room only. Why anyone would want to stand for, like, two
hours, and listen to Sigur Ros, is beyond me. No matter how hard they play,
this is a band that is best suited to sitting, listening, and watching.
The show started at 7:30 on the dot with a half hour opening
set from Daniel Lopatin, performing on his moniker of Oneohtrix Point Never.
Playing behind the scrim used to cloak the stage, Lopatin stood in front of a
table with lots of devices on it, generating sounds from them. His recorded
material, as my wife was quick to point out, is more interesting to listen to
then the curious noises and erratic rhythms he was generating—it was tough to
tell if these were new pieces of music he had crafted, or if he was just
improvising his way through his allotted thirty minute set. The crowd, still
filing in, was uncertain what to make of him. There were odd bursts of applause
when he would take a quick break between pieces. My wife and her cousin chatted
about their projects at work, and I was receiving text messages from either our
rabbit-sitter, or from various friends who were also at this concert. The
crowd, as a whole, seemed to ignore Lopatin completely, talking amongst
themselves while he made strange noises and shifted back and forth behind his
table of gadgets.
The whole thing was reminiscent of when I saw Radiohead ages
ago—DJ Kid Koala opened—and when he came out on stage, all he said was, “I’m
going to play some records the wrong way for you. Listen if you want.”
The change over to set up all of Sigur Ros’s equipment takes
exactly a half hour—during which William Basinksi’s “Disintegration Loop 6” plays.
At precisely 8:30, the house lights dimmed, and in the darkness, the band took
to the stage.
To say things get “real” when you see Sigur Ros perform live
is an understatement. Within the first two songs alone, I think I said “Oh
shit!” at least four or five times. The band, currently touring in support of
their 7th full length LP, Kveikur,
which apparently means “Candlewick” in Icelandic—an album that isn’t even out
yet. Their stage show, which seems to grow more and more elaborate with each
tour, is now based around arena/stadium/auditorium logistics.
For the first two songs, the band—a core trio now, supported
by like eight other people—are completely hidden by a white scrim. From where
we were sitting, it’s like they were playing inside of a cube. During the moody
opener, a new song called “Surface,” all kinds of crazy visuals were projected
directly onto the scrim, as well as on a giant curved video screen that ran the
entire stage width in back of them.
(sometimes we play inside of a cube.)
Due to the ridiculous technical aspects of this show, the
band rarely changes up their set lists from night to night—occasionally
changing the order of one or two songs, but never straying from the 14 songs
they’ve selected to play. Second in the set, every night, is the oldie, and fan
favorite, “New Batteries,” a song that begins with frontman Jonsi bowing the
shit out of his electric guitar, creating cascading and terrifying waves of
feedback.
Still hidden behind the scrim, the band played with light
and shadow, as the song builds towards it’s infamous climax—and on command, the
scrim dropped to the floor, revealing the band, as strobe lights blinded
everybody watching.
Throughout the show, the band proved it knows how to
structure a setlist, swapping loud, earthshaking songs, with quiet introspective
numbers, and then bombastic pop-oriented crowd pleasers. Personal favorites
(and slow jams) “Vaka” and “Fljotavik,” were moments when the crowd was most
restless—people getting up and going to grab another ice-cold beer, or to use
the bathroom. Loud as fuck classics like “E-Bow,” and the new joint
“Candlewick,” struck fear and awe, combining noise and lighting to create a
sensory overload. Popular singles from the band’s 2005 effort Takk…(Thanks), “Lost at Sea,” and “Hopping into Puddles,” drew the most
cheers from the crowd when they began.
When listening to Sigur Ros on record, it’s easy to forget
that the music is being made by real people—not otherworldly beings who are
blessing us with their presence. The sheer sight of seeing regular ol’ people,
people of Earth, on a stage, making all of this happen, is enough of a special
effect that the lights and projections and all the crazy shit that happens is
just an added bonus.
A strange, humanistic
moment occurred during “Hopping into Puddles.” Just getting into the song,
Jonsi made some kind of mistake, and obviously flummoxed, stepped away from the
microphone, trying to alert the other ten people on stage to stop playing.
Eventually the band figured out something had gone wrong. The crowd oddly cheered at this gaffe—I kept
waiting for Jonsi to say, “Guess what ya’ll? We fucked up.” Instead he just
mumbled “my fault,” and then eventually, “Let’s try this again.”
As the set drew near to the end, oldie “Olsen Olsen,” and
the epic “Festival” brought everything to a fever pitch. The band closes every
show with their new single, “Brenninsteinn,” which means “Brimstone.” And holy
shit—they aren’t kidding about the brimstone.
The word on the street about their forthcoming new album is
that it is more “aggressive” than previous efforts—“Brenninsteinn” is
absolutely punishing. The bass alone was rumbling my organs. The band members
each unceremoniously walking off stage when their contributions are
finished—only the string and horn players were left out there by the end.
After their techs reset some of the equipment, and after the
crowd continued to applaud for more, Sigur Ros sauntered back on stage for a
two song encore—starting with another Takk…
favorite, “Glowing Sole,” then bringing things to a ridiculous close with the
twelve minute “Popplagio,” or “Pop Song,” the final track from the band’s moody
2002 joint ( ).
Prior to the show, I had read a lot of negative things about
the Legendary Roy Wilkins Auditorium—mostly that it lacked character, and that
the acoustics were god-awful. The band sounded surprisingly clear—if not, like,
way too loud at times. There were a few moments when things got lost in the
mix, and everything was enveloped in a wall of noise, but the band’s sound
technicians were able to maintain a balanced sound throughout most of the show.
The Roy does lack character—pre-show talk between my wife,
her cousin, and myself consisted of discussing the high school auditorium vibe
it gives off, and the gigantic concession stand residing in the corner. Icelandic
post-rock doesn’t really seem like the right kind of act to book in the
venue—but this is also a band that just played Madison Square Garden days prior
to coming to St. Paul, and it’s also a band that are playing venues that have the
words “Verizon Wireless,” and “1st Bank” in their names.
Maybe I’m not used to stadium/arena/auditorium shows. The
last time I went to something in a venue this big was the New Kids on The Block
and I was seven years old. I found the restlessness of audience members to be
distracting. Sure when you have to use the can, you have to go. But do you
really need to buy a hot dog AND a sack of popcorn? Do you really need to get
another cup of ice-cold beer and spill a bunch of it as you make your way back to
your seat? I guess the “come and go as you please” mentality of some of the
audience was just confusing to me.
(one of my other attempts at taking a photo with my phone, sitting really far away.)
When I was a young man, in college, I learned about the
“Elements of Drama,” as established by Aristotle. In order, they are: Theme,
Plot, Characters, Language, Music, and finally Spectacle. A successful and
well-done play uses them in that order. Broadway musicals, for example, usually
shuffle the order a bit. I think if you looked closely, you would find all six
of those at a Sigur Ros show. Obviously Music and Spectacle are first, and
eclipse everything else, but you’ve got Language—Icelandic, sometimes a made up
language called Hopelanic; Characters—Jonsi’s stage presence is captivating
enough just on its own; the Plot, or Action, is the ebb and flow of the various
sonic landscapes each song creates—from the bat shit insane feedback, to the
most quiet introspective moments; and finally, Theme—the music of Sigur Ros
conjures up so many ideas and emotions—they can be joyful, they can be devastating,
they can shake you to your core.
If this was your first time seeing Sigur Ros live, how shook
are you? I bet your mind is still reeling from what you witnessed. Even if it
isn’t your first time seeing them, the band is constantly changing its stage show,
so even if you have heard the same songs played at different concerts—you are
still seeing something new each time. In THIS economy, $60 for concert tickets
is, you know, kind of a lot. But for the amount of work it takes to put on a
show like this, it’s worth every penny.
Sigur Ros is still currently on tour throughout most of 2013. Their new album, Kveikur, is available on June 19th, courtesy of XL Recordings.
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