For Belle and Sebastian, a New Sound at the 9:30 Club Tuesday, March 7, 2006; C09
The New York post-punk label Matador has released a lot of caustic stuff over the years, but currently its top attractions are a pair of dulcet pop-rock bands: Glasgow, Scotland's Belle and Sebastian, and Vancouver, B.C.'s New Pornographers. The bands, touring together, played the first of two sold-out nights on Sunday at the 9:30 club, where they proved entirely compatible but surprisingly unequal.
Overcoming a reputation for being awkward and introverted, Belle and Sebastian justified headliner status with a performance that was as relaxed as it was well-arranged. The band's 90-minute main set was framed by two ballads from its whispery early days, "The Stars of Track and Field" and "The State I Am In," in which singer-guitarist Stuart Murdoch sounded characteristically fragile, and the other players barely intruded. Yet the bulk of the octet's show was drawn from its new album, "The Life Pursuit," which successfully blends the band's original sound with bits of T. Rex, David Bowie and even Kool & the Gang.
Cello, violin, trumpet and vibes embroidered the sound, but guitars and keyboards drove nearly funky new material including "White Collar Boy" (which actually sounded as much like the Undertones as it did T. Rex) and "The Blues Are Still Blue." Murdoch made an unexpected transformation into showman, proving he can now dance nearly as well as he can brood.
Midway through the New Pornographers' hour-long set, singer-keyboardist Kathryn Calder spoke briefly to demonstrate just how hoarse she was. She sounded fine harmonizing with guitarist and principal songwriter A.C. Newman, but perhaps her strained voice unsteadied the rest of the sextet.
While the audience favorites "From Blown Speakers" and "Sing Me Spanish Techno" were adequate simulations of their glossy studio versions, their roughness did not boost the songs' appeal. When the essence of a band's message is in lines like "ooh la-la la-la," the articulation has to be just right.
-- Mark Jenkins