
the Shins // the Paramount // 20 february 2007
Everyone is required to have a story about how the Shins changed his life. For me, it happened in the cozy womblike showroom of the Sit & Spin at one of the first shows that I’d been to after moving to Seattle. I’d downloaded “Sphagnum Esplanade” from somewhere and it seemed like a good enough reason to check out this laundromat rock club. 764-HERO played and then eXBeSTFRIenDS blew fire and didn’t catch the draped ceiling ablaze. Then this band that was just [or about to be] signed to Sub Pop came on and everyone got over the flamethrowing pretty quickly. Between songs, murmurs of widespread approval: “Wow, this band is good“, “They’re from Albuquerque” “That’s in New Mexico!” “Doogie Howser is from there, too.” This was before they even played “New Slang (When You Notice the Stripes)”.
Maybe I exaggerated about the life-altering properties of the event,1 but it was at least a gateway drug. I don’t know if the same can be said of last night’s performance at the Paramount. It was a really good show (At least a 7.2 on a scale where 1 is that annoying drummer on the sidewalk and 10 is Broken Social Scene at the Showbox with Leslie Feist slow dancing with Kevin Drew to “Lovers’ Spit”).2 I suspect that everyone there knew what to expect and it’s much harder to do close-up magic in a cathedral.
This is not to say that the band was without some excellent tricks up their sleeve. As the smoke machine bellowed fog onto a coolly lit stage decorated with a silhouette of a leafless tree on the back wall the opening undersea notes of “Sleeping Lessons” welcome the band. They pull down the giant scrim to reveal the album artwork and it’s off to the races with the slow buildup of the opening track exploding after a slow, two-minute buildup, leading deftly into the bouncing, cartwheely madness of “Australia”, catching its breath with “Pam Berry”, and then falling into the swelling multipart ooh-aah-ooh chorus of “Phantom Limb”. It is the both the best four-song progression from any Shins album and an excellent way of starting the show.
From there, they drop into the back catalog. James Mercer’s tour-ragged voice and the additional vocal support of tourmate Viva Voce’s Anita Robinson and the Fruit Bats’s Eric Johnson,3 allows a few liberties with the classics by adding harmonies, speeding up some songs, slowing down others under the glow of a half dozen exposed dangling lightbulbs, washes of candy-colored pastel spotlights, and a backlit bass drum swirling with colors. The setlist4 breaks down into a few alternating clusters: upbeat pop gems (“Kissing the Lipless” through “Girl on a Wing”), the excessively pretty quiet songs (“New Slang” is in desperate need of better mixing and a thousand lighters in the audience, but this is made up for by “Saint Simon”, and the ethereally beautiful “A Comet Appears), later the usually reserved “Gone for Good” is sped up and turned from heartsick to lightly aggressive. Along the way are quirky angular lyrical gems like “Girl on a Wing” and the celebration of salvation through record stores and relocation, “Know Your Onion!”.
Although Mercer’s sore throat diminishes the usual perfection and pristine high notes, it adds immediacy and realism to the performance. As is the case with almost every Shins show following their Seattle debut, a pair of underpants end up thrown from the audience.5 This time, it’s an oversized pair of “granny panties”, almost large enough to be worn as a shirt and inscribed with “I love you THIS much”. They quickly become a decoration for the mic stand, occasional sweat mop, and frequent prop in Mardi Gras antics. After “closing” with the opener from Oh, Inverted World, “Caring is Creepy”, the band eventually returns for an encore featuring a cover and cathartic anti-drudgery anthem “So Says I”.
No, the messy sound system at the Paramount doesn’t match the grandeur of its setting. Yes, listening to the albums through noise-isolating earphones will reveal all of the subtleties of the production values — shakers, delicate strings, finger cymbals — are lost. And seeing songs you love performed live in a big venue might not change your life, but sometimes a good show and a reminder of how much you like a band is enough.
(more…)