Tune-Yards Tour Poster
tUnE-yArDs Setlist
Tour Dates
03/06/2018 Toronto, ON Danforth Music Hall
03/07/2018 Montreal, QC Corona Theatre 03/08/2018 Boston, MA Royale Nightclub 03/09/2018 Brooklyn, NY Brooklyn Steel 04/26/2018 Boulder, CO Boulder Theater 04/28/2018 Norman, OK "Norman Music Festival" 04/29/2018 Fort Worth, TX "Fortress Festival" 05/02/2018 Austin, TX Emo's 05/05/2018 Asheville, NC The Orange Peel 05/07/2018 Richmond, VA The National 05/11/2018 Millvale, PA Mr. Small's Theatre 05/16/2018 St. Louis, MO The Ready Room 05/19/2018 Atlanta, GA Variety Playhouse 05/21/2018 Washington, DC 9:30 Club Read More
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Her private life became a public display of live self-examination and musical joy—
tUnE-yArDs, the eclectic, almost undefinable musical project led by Merill Garbus is back on the road, having played a crowded Mainroom at First Avenue in Minneapolis in support of their latest and fourth studio full-length, I Can Feel You Creep into my Private Life (4AD Records).
The evening began with a beguiling , mesmerizing set from Brittney Parks aka Sudan Archives, a 23-year old Cincinnati native who deftly mixes electronic music and beats with West African rhythms, soundbites, digital looping, R&B, and her own self-taught violin skills, to create a memorable sound mix, in support of her self-titled debut EP (on Stones Throw Records).
The result is a sound that sometimes booms electro and contemporary like Banks, other times the melding of African rhythms yields it closer to Graceland-era Paul Simon or vintage Talking Heads on songs like ‘Time’ and ‘Paid’, while looking visually like Erykah Badu or Corinne Bailey-Rae amidst low on stage lighting and a rolling fog. “I want to be friends 'til time ends” she cooed between violin bursts, on ‘Come Meh Way’ and judging from the huge ovation following, plenty of friends and new fans were gained.
The stage was set with dramatic lighting framing the back end of the stage and a curved center frame with gauzed curtains that would accentuate the shadows of tUnE-yArDs as the three-piece took to the stage for their seventy-seven minute headlining set beginning with ‘Home’. “I always feel on holy ground” Garbus posted on social media just prior to playing the historic venue.
The new album, more electronic than previous, but still dealing with issues including self-identity and appropriation amongst very danceable beats, was the clear focus of the evening, with the group playing just over half of the new tracks, but still saving room for some old favorites as well.
Joined onstage by bassist and longtime collaborator Nate Brenner and live drummer Hamir Atwal, Garbus seemed very focused throughout, manipulating numerous foot pedals with both feet and hands, toggling between synths/samplers and guitar, and moving between two mics to live create the sophisticated sound that is the band’s own.
Things got funky (with literally more cowbell) on the new ‘ABC 123’ countering the politically charged lyrics of “You couldn’t hear me ‘cause of NSA protection, but we’ll unite before the very next election” with an irresistible dance rhythm. The protest dance party continued with looped soundbites and dropped-in sounds against a strong bass drum beat, on 2014’s ‘Water Fountain’.
“I’m a little worried because last time here was one of my favorite shows on the tour” Garbus said, cautiously hoping the audience would be just as strong this time, though it already seemed they would be. The crowd would go to next level for 2011’s ‘Gangsta’, singing back the siren-like vocal intro and moving in place with expression, as the song progressed.
“It is incredibly important to me to share this music with people” Garbus gushed before the main set closing new ‘Honesty’, “…and we are so privileged and speechless on what it means for ya’ll to be here to experience this with us”.
“Thank you… you’re gonna spoil us!” Garbus said re-emerging with her bandmates to strong applause for a two-song encore, starting with 2011’s ‘Bizness’ which began with a cacophony of her musing voice, looped and layered. New song ‘Free’ would end the evening, it’s trash can-lid snare beat clashing against the juxtaposing lyric, “Don't tell me I'm free!, I'm Free!” and a cosmically trippy synth outro.
No one brings the party to the protest quite like tUnE-yArDs, able to cleverly present their socially permeating and self-revealing lyrics to the masses, set into a culture and genre-bending sound collage that makes it impossible to stand still and not fall submission to their grooves and rhythms.
(click on any photo below to enlarge and see full image)
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Tune-Yards Setlist |
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