There's so much to say about Sam's latest album and consequent style of performance that it's difficult to condense it into one review of a show, but I'll do my best. Positives, followed by negatives, followed by a kind of drawing together of stuff:
From the first to the last moment that night, Iron & Wine was original in every sense of the word. Original in a new experimentation and style in places, as the opening "Winter Prayers" from the Ghost on Ghost album took on a captivating new form whilst Beast Epic tunes like "About a Bruise" showed a man who has a brilliant talent for writing more than one kind of song. Original also in his rediscovered appreciation of his older material, both in itself and in its influence upon calming the sound of his new release. Original seemed to be the word, whether describing the original beginnings Of Iron & Wine or the originality of his new direction.
Whilst the return of the old was greatly appreciated in many senses, the restlessness remained. There's a perception surrounding Sam's music at the moment that he's found a satisfaction in the soft and muffled image so many of us still have of him, and it's partly true - but only partly.
The low points of the performance came when he tried to change up and play around with older songs which really shouldn't be touched, like Sodom, South GA and Passing Afternoon. Besides ruining wonderful songs, this also seemed to demonstrate a sense of boredom surrounding his older material, contrasting with his partial return to its sound. It felt a shame.
Of course, one will never be fully satisfied with the setlist as there's just too much quality material to cover - but isn't that a sign of the marvel we're witnessing? What an honour it was, despite certain imperfections and disappointments in the set, to see one of the greatest lyricists, past and present, live in concert.
I walked out of the Bridgewater Hall with a t-shirt. It showed the blindfolded artist of the Beast Epic cover, but the tapestry style had been distressed. The colours ran into each other, threads were falling out, and the image had become obscured and unclear. Yet, despite the distresed image, it seemed rich and flowing and bold and bright and, in some way, iconic. Sam has done so many great things in his career and moved in so many different directions, and what began as a set of 4-track demos has become something so much greater and more exciting, diverse and arguably beautiful than we began with. There's plenty one is free to dislike, but looking at the image with songs new and old in my ears as I hopped on the bus back home, I felt a strange sense of awe about what I'd just experienced.
When he returns, I hope to see it.
Weezer
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