Grizzly Bear Audibly Attacks (In a Good Way!) Last Night at Town Hall

It’s rare that I find myself anywhere near Times Square [shudder], but there was very little that could keep me away last night. Oh no. Grizzly Bear was breaking it down at Town Hall on West 43rd Street and I would have subjected myself to patronizing both Olive Garden and Red Lobster if it meant automatic access to this show. Fortunately, I secured seats with uber-fan foresight and forewent chain food fatigue, were that a -- albeit bizarre -- prerequisite for entry.

The Brooklyn-based foursome awed the enamored audience from 9:15 until 10:30, the entire time leading us along a path that traversed material ground both old and new. Of special note were their performances of “Knife” (Friend, 2007), which featured an eerie echo meets Auto-tune effect, the rollicking “Two Weeks” (peep the trippy vid here) and “Foreground” (both off Veckatimest, 2009), which warrants a double swoon for basically being the best song ever, in my humble opinion. They played a total of 14 tracks, a number of which indeed hailed from their recent release, Veckatimest, which hit shelves Tuesday. (If you haven’t heard it yet, run don’t walk to cop a copy of the brand spankin’ new disc.)

Their set was met with evident head nodding (and even some air guitar and air drumming in my aisle) and, pre-encore, a standing ovation, clapping and cheering that just wouldn’t die down. Eventually, it faded out, in time for these technical savants to re-enter. Their sendoff consisted of their ever-famous and amazing Crystals cover, “He Hit Me (And It Felt Like a Kiss),” which, mid-song, elicited a solitary “Whoo!” from a fellow admirer, as well as the now-considered-classic “On a Neck, On a Spit” (Yellow House, 2006).

Sharing the stage with them were renowned music composer Nico Muhly and the Brooklyn Youth Chorus. If you were fortunate enough to witness firsthand or heard anything about Grizzly’s BAM session back in February, you can imagine that this too took fans aback. As always, lead vocalist Ed Droste (vocals, guitar, omnichord) dominated with his captivating and addictive croon, his shocking range in full effect, reverberating off the venue walls to overwhelming effect. With his unmistakable voice, Daniel Rossen (vocals, guitar, banjo, keys and also half of the excellent indie duo Department of Eagles) sang and played his heart out too, from guitar to keyboards and back again. (Forgive me, but does he not remind anyone else a little bit, looks-wise, of Paul Simon? Anyone? Anyone?) Christopher Bear (drums, keys, vocals) once again proved that he is undeniably one of the best drummers around these days, with his exquisite composure rivaled only by his seemingly puppeteer-manned throws back and forth towards and away from his set. He was absolutely on point, not to mention an excellent whistler (“Fine for Now,” Veckatimest). Last but not least, by appearances a cross between actor Michael Pitt and James Dean, Chris Taylor (bass guitar, woodwinds, electronics, vocals) employed his usual juggling, from bass to sax to flute to clarinet, among other audible fiddling.

If their vocal and instrumental prowess wasn’t enough to captivate the crowd (which it was, and then some), the visual aesthetic accompaniment certainly impressed. Hanging above their heads were what looked like mason jars, each lit up, sometimes for a prolonged period and frequently flickering on and off in time to the music. They looked like fireflies buzzing about, caught by young children on a humid, dewy mid-summer romp. In addition to this, the lighting itself was delectable, with rich magentas, greens, lavenders and reds flashing on and off at times, often in shaped patterns such as swirls and dot clusters. Around the entire room they rotated, saturating every surface whilst marrying the talent onstage with their avid devotees. Droste volunteered, “New York gets a special show with all these lights and stuff; it’s just for you guys.”

Rife with sublime instrumental arrangements and velvety, enveloping vocals, this special event proved an evening not soon to be forgotten. It will, however, be repeated tonight. Same time, same place. Difficult to finagle one’s way in, no doubt, but definitely worth a go if interested. To top it off, there's no question in my mind Veckatimest will be at the top of many a critic's list come the close of 2009. With its intoxicating instrumentals and poetic wordplay, the dynamic material is sure to win over discerning ears everywhere. From poppy to psychedelic, ecstatic to somber, Grizzly Bear's compositional masterpiece runs the gamut. These Grizzly Bears aren't cubs anymore. Hear them.

Photo from Stadiums and Shrines