There are gigs where you know you are seeing an artist in a more intimate setting than you'll ever see them again; next time they pass this way they will have outgrown the venue in fame and scale. Last Thursday at the Kings Arms felt like one of those gigs,
Concert review: Tune-Yards, Kings Arms
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Tune-Yards. Photo / Milana Radojcic
Live, as on disc, Garbus builds her arrangements with the aid of a sampler. She starts with a simple figure, which she creates either with drums, ukulele, voice, or (in one instance) the audience's handclaps, looping it electronically into a continuous rhythm before stacking on more parts. It's a technical feat, yet rather than feeling we are watching a boffin in her studio, I was reminded of James Brown dancing the rhythm, making sure the groove is right before launching into the body of the song. Using samplers in real time is not uncommon - locals like Andrew Keoghan and Liam Finn do it to great effect - but I have never seen sampling used onstage to create quite the funky momentum of Tune-Yards. Nor did the technology constrain the music. Several songs - such as the anthemic Bisness - were effortlessly stretched beyond the tight structure you will find on the record.
There was a strong physicality to the whole thing, from Nate Brenner's muscular basslines to the sax section's sudden John Zorn-esque outbursts of controlled frenzy. But most of all it was Garbus' voice that communicated so powerfully; leaping intervals like some exotic birdcall, effortlessly negotiating her strong, unpredictable melodies, it pulled everything into focus. The technology might be modern, her music innovative and fresh, but the singing tapped something ancient.
Who:Tune-Yards
where: Kings Arms, Auckland
when: Thursday 12 January