Photo:
Having already played a show with the Brooklyn Philharmonic Orchestra, Grizzly Bear are no strangers to this type of accompaniment. But with a whole week of preparation with the London Symphony, as opposed to a mere two hours with Brooklyn Philharmonic, expectations were high.
A stripped down St Vincent acted as the only support. Having abandoned her usual full-band set up, Annie Clark opted for loop pedals and a lonely violinist as her entourage. The pair proceeded to wave through re-vamped versions of Clark's material, with an odd edge of finesse and experimentalism. It was intriguing for the first few songs, but (without denying their unquestionable talent) 40 minutes was just too much for that type of trickery.
As Grizzly Bear took to the stage, together with a full-strong London Symphony Orchestra, you began to notice just what a stage it was. Three crucifix-like stands stood between the band and the orchestra, suspending fairy lights that continued to dazzle in sequence throughout the show. It certainly added to the magic.
Mirroring the beginnings of latest album, Veckatimest, 'Southern Point' set the standards for the rest of the set. Nico Muhly's close relationship with Grizzly Bear had perceptibly paid off when it came to his arrangement of the orchestra. After the first track, applause was immediately followed by utter silence in anticipation of the next display. The sheer scale of the performance and venue created a Royal Variety atmosphere of which I've never experienced. Thankfully, bassist Chris Taylor broke the quiet by asking, "Does this feel as fancy for guys, as it does for us?" The answer was an indisputable, "Yes". But that's what made it extra special.
Every song gripped the audience into silence and upon release, triggered monumental applause and an eventual standing ovation. Particular highlights would have to be 'Cheerleader' and the constantly climatic 'While you wait for the others'. The foursome's impeccable falsetto abilities will astound any music lover - so go and see them! If I had to pick a low light, it would be that on occasion, the absolute power of Ed Droste's voice dominated the music behind it. But that criticism really is scrapping the barrel.
Maybe it was the set up of the orchestra on stage, or the appropriateness of the Barbican Centre itself, but I felt privileged to have been there, and I wasn't alone. Before leaving the stage, Droste felt obliged to show the band's humbled appreciation: "Thank you so much to the London Symphony Orchestra and everyone involved in this... it has truly been an honour".
.jpg)
