Ah, Wildbirds and Peacedrums, how I love thee. Since I first saw them last June on a friend’s recommendation without hearing a note of their music, I’ve been evangelical about spreading the word. A Swedish husband-and-wife duo much blessed with that innate musical talent all Scandanavians seem to have, their percussive-led balladry may not always quite work on record, but it never fails to bewitch live. Much of this can be attributed to the hypnotic presence of Mariam Wallentin- whirling about the stage with abandon, attacking drums, ceilings, walls like a woman possessed, she’s fascinating to watch. And then you’ve got her voice, lying somewhere between Bjork and Nina Simone- an earthy, husky but versatile wail imbued with such soul that there’s moments where you forget you’re watching a willowy Swedish lass rather than some veteran New Orleans blues singer. Admittedly, it wasn’t quite on top form tonight- a long tour has robbed it of some of its strength- but there’s no denying its power on the likes of the electrifying “There Is No Light”.
No less impressive is the unassuming Andreas Werliin. Whilst he’s happy to allow Mariam to hog the limelight for the most part, his fantastically assured drumming is the lifeblood of their music, and at times he almost matches his wife in the wildness of his performance. They’ve rectified an oft-issued critique of their Heartcore tour that their minimalist set-up wore thin over a full show by bringing steel drums and xylophones to the mix, which adds an extra splash of colour to songs like “My Heart,” although it’s still the brilliantly simple two-drum assault of Today/Tomorrow that showcases Wildbirds and Peacedrums at their astonishing best. They’re still a bit difficult at times, and the use of a laptop on a couple of tracks seems a little incongruous, but despite this not being a vintage performance (their Social show last month was better), they’re still one of the best live bands touring today.
They were most ably supported by Chicago-based experimental rockers Volcano!, whose peculiar and scattergun set remained engaging even in its more arty moments. Trying to define them is difficult, as they’re a band impossible to pigeonhole into any specific genre- think the soaring yelp of Frog Eyes’ Carey Mercer attached to the difficult-but-admirable ambition of Dirty Projectors, with a touch of the offbeat joyousness of Ponytail or Deerhoof and some scuzzy guitars and math-rock rhythms for good measure. It’s all very bizarre, and occasionally comes across as too aimless even for a lover of such off-kilter fare as myself but for the most part their weirdness works in their favour, and their lack of aloofness and willingness to banter means we’re willing to forgive their more pretentious tangents. In any event, much rather an innovative, challenging band that occasionally infuriates than a middle-of-the-road one that merely bores.
(Photo: Anika)
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