I wasn't really sure what to expect from Washed Out's show last Sunday night at Crowbar. Not only was the Tampa crowd completely exhausted from WMNF's Tropical Heatwave the night before, but Sundays typically draw small, mellow crowds. It seems excitement about this gig had been building for a while, though, the venue selling out early in the evening and leaving disappointed fans begging at the door for admission. [Text by Deborah, photos by DCG.]
Though I missed the opener, Airbird, he had clearly hyped-up the crowd for the headliner. Billed as "Toro Y Moi meets John Hughes," it was an act I wanted to see, but just couldn't get there in time. Regardless, in-between sets, everyone kept the groove going, dancing to the background music with jittery energy. Any doubts I might have had about this being a low-key evening were instantly gone.
Taking the stage against the glow of flashing blue LED lights, pounding bass drum, and a building synth intro, Washed Out opened with a discoed up, bass-heavy version of "Echoes." From the explosion of the first chorus, it was crystal clear that Washed Out's live show is completely different from the studio experience. Where the recorded sound has a sexy, atmospheric quality that's seems best suited as background bedroom music (and to the band as well, evidently, judging from the cover of Within and Without), their energy onstage transforms the echoey, chilled out recordings into an all-out dance party. There's more intensity, more funk, more improvisation … just MORE. It was like hearing them for the first time, and throughout the night, I frequently found myself wishing they'd release a live recording to capture the feeling. It's as though visionary frontman/songwriter Ernest Greene recognizes that performing his band's albums in a live setting might be a little dull, so completely reinvents every song.
Everyone was all-out dancing by the second song, "Get Up," with its laser sound effects and an even funkier bass line than the recording. "Far Away" was the highlight of the evening, however; the sexiest song on Within and Without is loaded with double synth, samples, looping, and crashing drums. "New Theory" saw the second row of the crowd bouncing back and forth with arms around each others' shoulders as the synths hit overwhelming levels, three band members all hitting varying notes on keys. "Soft" was another stunner, the crowd spontaneously clapping along with its much more intricate lead synth element. This earned huge smiles from the band as the floor exploded into an outright disco frenzy. Looking around at the sweaty dancing bodies, I could still spot people everywhere swaying with eyes closed; as many minds were lost in their own moments as those joining in the collective energy. I imagine they were lost in memories of their own intimate moments with Washed Out.
At one point in the evening, Greene smiled appreciatively and nodded his head while looking out at the packed floor, saying "How ya doing Tampa? You guys are all right." I have to admit, it made me grin, as I'm always a bit proud when our little scene manages to surprise artists with our enthusiasm.
The only song that was surprisingly sexier live than on record was "Feel It All Around," the Portlandia theme song/hipster anthem. It was delivered much slower, with an ethereal, dreamy quality as Greene and his wife, Blair, joined each other at the center of the stage to play back-to-back.
The instant the band walked offstage, the crowd began chanting for an encore. The musicians returned to an ecstatic, sweaty, fevered "Amor Fati," followed by a percussion-heavy groove of "Hold Out" that delivered on every bit of promise the recorded version holds. Calming us all down a bit before sending the crowd into the night, Washed out closed with "Eyes be Closed."
Leaving the stage with a simple "Thanks, it's been a great Sunday," I couldn't help but agree with Greene; it was the best Sunday this girl had in a long time.
Setlist
Echoes
Get Up
Far Away
New Theory
Before
You'll See It
Soft
You and I
Feel It All Around
Amor Fati
Hold Out
Eyes Be Closed
This article appears in May 17-23, 2012.