Boom Bip - Seattle, WA

"Gather around, come now, gather around. We're Fog from Minneapolis Minnesota." That was the first thing out of Andy Broder's mouth after his band Fog took the small stage at the Asian-themed Chop Suey. The archetypal Velella Velella had just finished their set, Rhodes piano and vibraphone just taken away to make way for Fog's Synth/electric piano/turntable set-up. After Fog started their first song, Mr. Broder's statement went by and large ignored. The thirty or so people in the club kept a comfortable twelve foot distance between the stage and themselves. Fog's set included songs mostly from their new album, 10th Avenue Freakout), out on Warp subsidiary Lex records. With melancholy lyrics, glitchy off-kilter beats, and layered instruments, I think rather highly of Fog's latest album.

I had expected a one-man show, Broder and his laptop, with a set of turntables cutting odd music for him to philosophize over. I was rather surprised to see a full band affair. This seems to be the current trend among people using electronic means to create music. I first noticed it in underground hip hop with Sage Francis' Art Official Intelligence, using sometimes odd instruments to recreate complex, avant, and produced sounds. This goal is a lofty one that few can attain (the aforementioned A.O.I. has since failed) DFA's James Murphy has accomplished in this regard with his recent LCD Soundsystem tour, bringing a passionate stage presence. While Fog's latest album has promise for just that, the set somehow just wasn't that great. Whether it's the Seattle audience (small and unmoving), the venue (which unfortunately is tired), or the band. I think the prior two in this case. The backing band did their parts well, as did their frontman, although his sometimes nasally voice didn't translate well at times. When a local skateboarder started to do an interpretative dance in said twelve-foot gap, he was met with dagger eyes from the performer, questioning eyes from the audience, and laughter from myself. Fog gave it their best, but they weren't having fun at the time.

Enter Brian Hollon. Small room of sadness aside, he got into it true to form. Having seen Boom Bip's tour in support of Seed To Sun I sense improvement. He has toured the world with a full orchestra, gained media attention, (he and Diplo recently shared the cover of URB magazine) and moved to LA via the Midwest. His show this time around had a full band as well, with him playing a Fender Jaguar, Timbales, his drummer's ride cymbal, and a double set of keyboards with laptop and samplers around as well. As his head swayed back and forth to the music of his latest, Blue Eyed in the Red Room, Boom Bip had gotten a few heads bobbing. I was excited to hear some of the material from Seed To Sun transcribed to four-piece band, and found myself pleased, head bobbing, arms and feet twitching to the beat. The electronic components translated nicely as the show progressed. Unfortunately for everyone involved, the audience just seemed tired at this point, after the long opener and underappreciated Fog. I really think a venue change would have helped them. Or maybe the audience just didn't want to let themselves have a good time. Boom Bip's answer: fuck it, give them what they paid for. As a musician, I feel that this would be such a challenge playing to a strange crowd, everyone just standing and eyeing you (provocative dance aside). At least you can get angry when a crowd heckles you. I can only imagine what this show would have given me if it were in a different city, different country, different crowd, etc. Oh wait, I can, like when Boom Bip tore it down at Coachella late last month. Maybe it is the environs needing change, not content. I certainly hope so, since both artist's albums and live intents are great efforts, even if they are in a crowd that wants to be hip, but can't find the beat.