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There was nothing new about what the Antlers showcased at the Great American Music Hall on Friday night. Of course, that’s exactly what the band was going for.
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“Headcase” has been described as a queer pop anthem, influenced by Morgue’s own intention of having always wanted to do a duet with another queer woman (Morgue herself identifies as pansexual). But this assignment presents its own set of problems.
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The second opening act for Andrew McMahon In The Wilderness, Flor played just as the theater was starting to fill up. Though most of the present audience members began the set focused on getting drinks, Flor did a respectable job grabbing their attention.
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Throughout the performance, Ezra Collective stood true to its name by upholding a synchronized and blended sound founded on a basis of togetherness.
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The four-piece lined up in a straight row at the front of the stage, setting themselves as close to the audience as possible without falling off their platform.
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For the quaking electricity that overtook the room at his presence, Beatty took on a more demure bearing. It proved to be a nice contrast to the screaming youngsters practically vibrating with excitement.
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Warner’s slam poet energy showed clearly throughout the night — her vocal delivery started out slightly shaky, but improved drastically as she gained her confidence.
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With his performances of “Life Round Here” and “Limit To Your Love,” Blake brought an entirely original and entirely brighter energy to his older songs.
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When she wasn’t impressing the crowd with her musical ability, Ward was channeling her inner “I Dream of Jeannie” spirit as she physically demonstrated the beats surging through her every move.
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The incandescence of Part 1 begins with the track “Moonlight,” a cosmic whisper of harmonies mixed with tranquil birds chirping and steady guitar riffs. Rusty vocals are established as the electronic nature of the album gradually picks up speed, building the anticipation for the rest of the listening experience.
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