Got a little lull in concertgoing (there are a couple shows of interest at An Die Musik this weekend, but I’m going to take a break), so it’s time to catch up a bit on the backlog. Last week, Yo La Tengo played at the Birchmere, kind of a weird venue for an indie-rock trio known for making a shitload of delicious guitar feedback noise on top of a steady, almost Krautish pulse. The reason they were playing at this venue — an intimate dinner club whose more usual fare are singer-songwriters, country musicians and aging rockers — was the nature of this tour, dubbed “The Freewheeling Yo La Tengo.” The concept was basically that they would play “semi-acoustically,” kicking off with a couple songs and then opening up the rest of the concert to questions and requests.
There aren’t too many bands out there that can pull this off. Ideally, it requires a large and diverse repertoire of songs, the ability to play them acoustically, the ability to play any one of them on cue, a devoted and knowledgeable fan base, and the charisma to be able to sit on stage and answer questions without boring your audience stiff. I’m having a hard time thinking of any other bands that could actually do this, but Yo La Tengo managed to do it and be entertaining throughout. It helps that they’re one of the most endearing bands around, consisting of a married couple (he on guitars, she on drums) and a third-wheel bassist, all of whom have been playing music together for multiple decades (okay, the bassist is the relative “new guy,” having only been in the band for 15 years or so). The vibe these guys give off is one of relaxed confidence, like they’ve been together for so long they can handle pretty much anything the audience throws at them. In particular, guitarist Ira Kaplan was comfortably engaging and funny onstage, appropriate as it’s his guitar pyrotechnics that — for this listener at least — really propel the band to their most exhilirating musical heights.
I waited too long to pen this writeup, as I no longer remember much about the questions that were asked, but the band encouraged people to ask about anything, not just music. Nevertheless, for the most part the questions (mercifully in my opinion) stuck to Yo La Tengo’s music; the most off-topic it got was, “what’s your favorite Simpsons episode and why?” — and even that one became YLT-related since the answer was “well, the one that we did the music for, obviously.”
Musically, Yo La Tengo has a long and impressively diverse discography. I had expected them to stick mostly to the quieter stuff, or at least the poppier stuff. For the first half of the show or so, this was the case; they played a lot of their contemplative, slow-paced material, of which I generally find about half to be beautiful and half forgettable. But they did end up playing some louder stuff. It turned out that by “semi-acoustic,” what they really meant was “electric, but without distortion.” To my surprise and delight, they even played “The Story of Yo La Tango,” which is a 12-minute epic of guitar feedback and distortion over an insistent motorik beat. Kaplan did crank up a tiny bit of distortion on this one, but far less than usual, and the effect was fascinating, more spacious if not quite as compelling as the original.
For the first bit of the show I was kind of wishing the band would stop talking so much and just play more music. But it didn’t take long for me to warm up to them, and it ended up being a really neat experience punctuated by some great music. They didn’t blow my mind like they did last year (when Kaplan beat up on his guitar the way Cecil Taylor beats the shit out of pianos), but it was a pleasant evening and a rare look into the workings of one of the most long-lived bands in the turbulent world of indie-rock.