Review: Beirut @ the Hi Fi Brisbane
Beirut is very much on the verge of being a band you’d never listen to. Musically, they’d be placed in the ‘world’ section – and I don’t know about you, but I can’t name another band on earth that would sit here. Pairing their gypsy-inspired sound with some, well, just inspired lyrics – they have forged a new genre for themselves (having been described as “American gypsy folk”) and recruited a more-than-modest following. I was lucky enough to see them just two weeks before at Falls Festival where they were predictably a favourite, and couldn’t wait to follow this up with an encore set.
Opening with Scenic World, which establishes us immediately with singer Zach Condon’s choirboy-like voice, and the exotic sound created by the brass section – a common thread that links all of Beirut’s tracks. Following this up with Elephant Gun, a sense of otherworldly drama was building in the Hi-Fi that night. Beirut’s tracks don’t just feature exotic instruments; they introduce us to an entire musical style – from tempo to rhythm – that wouldn’t be out of place on the streets of Mexico or Spain.
The vocals from Condon on tracks like Vagabond are almost classical in nature – his articulation somehow just suits the music perfectly – it’s a somewhat calming and constant element in all of their songs. Another unique quality that this band has is its ability to truly communicate a story through the absence of vocals; through the music alone. You don’t have to listen to the vocals on Postcards from Italy, or A Sunday Smile to understand the sense of nostalgia embedded within it. It’s not just music for the sake of music – it’s very calculated. Very Beirut.
Next up: my favourite Beirut song. Featured on their latest release album, The Rip Tide, East Harlem is an understated, four-minute gem of a song that I think capture the essence of the band to a tee. The wailing of the brass and Condon’s near-monotonous voice were perfect on the night. It sounds like nothing I’ve ever heard before, and my pick of the set, all biases aside.
A close second was the beautiful Nantes. This one received an overwhelming reception from the crowd, and for good reason. The harmonica gives it a fitting Parisian sound – it’s one that you just can’t help but sing along to. Condon took to the piano for an opening solo on Port of Call, and in so, melted the hearts of most everyone in the room. Actually, I’ve changed my mind – maybe this one was the close second….
I love that Condon dedicates Santa Fe to his hometown: it, in as a corny way as this will sound, tells the story, in a way. He’s widely travelled, and is clearly inspired by the music of other countries and cultures – and so this song sort of marks the starting point of Beirut’s ongoing journey. It was a beautiful way to finish the set, or at least to mark the start of a five set encore! It’s only early in the year, but I’m almost positive that this set will feature for me in the most memorable of 2012. Until next time, Beirut.