Whilst I was waiting outside Soup Kitchen, Andy Stack assured me that there were still plenty of guitars in this tour, after I betrayed a little trepidation about Wye Oak's new direction. He was right: I hadn't noticed how frequently Jenn Wasner adopted bass guitar in their 2014 album Shriek, when all the media attention has been focused on her use of synth keyboards. Much, perhaps too much, has been made in the blogosphere about the likelihood of the duo falling apart had they not evolved. Jenn has talked about the strain of touring Civilian, saying she felt like a human jukebox playing the same songs repeatedly. They've planned a more realistic schedule this time, and seemed genuinely grateful to the audience, greeting them warmly. In stark contrast to EMA in Manchester earlier this month, everyone listened attentively in the packed, sold out venue, and there was no sign at all that they found the experience anything other than enjoyable. It's also worth noting that both are refreshingly down to earth and friendly.
Wye Oak's 2011 show at The Ruby Lounge made a powerful impression on me: their studio work did nothing to prepare me for their sheer power on stage. Introducing Spiral, a song written in 2012 which pointed to their new direction, Jenn explained it was the result of a collaboration of two perfectionists. I loved the marimba loops and circular stucture. All of the performances last night were absolutely precise, with immense attention to detail. Andy's technical skill in simultaneously playing drums and keys is astonishing to watch, and the whole set was rhythmically tight. Jenn appeared totally absorbed in the music, energised, moving constantly, and expressive in her face. This level of commitment must explain why they have found their touring so draining. In an interview, she explained that with Shriek they deliberately anticipated having to play their songs repeatedly, and ensured that they were challenged to stave off any tedium.
Jenn's voice doesn't always enunciate the words clearly, but it's characterful, and creates an atmospheric effect not dissimilar to Andy's smoke machine, which she joked about throughout the show. It's difficult to envisage them being able to improve their delivery, so the level of enjoyment depends on your reaction to the songwriting (which Jenn has said is the musical experience she gains most satisfaction from). They started with Before and Shriek, which also open that album, and both made a strong impression; despite the move towards synth pop, the writing felt far from predicable. Yet, it was with the rock of Plains from the Civilian album that the gig really sprang to live. The audience started to move, and the impact of Holy Holy which followed was staggering in the intimate venue. One of Wye Oak's distinctive characteristics is their exploitation of the shock of quiet and loud dynamics; they've also added digital effects to their recent material.
I'm yet to fall completely in love with Shriek, and for me the highlights were the closing encore Doubt, performed solo by Jenn, and the title song of Civilian, which felt so dramatic. The tension slipped during a few songs like Sick Talk from the middle of Shriek, but this reflects my idiosyncratic personal taste (which doesn't extend to Jenn's pop side project, Dungeonesse). Yet an imaginative Kate Bush cover, Running Up That Hill, and their own song I Know The Law showed that a move away from folk influenced indie rock doesn't preclude thoughtful music making. Wye Oak is in transition, and I can't wait to hear how they continue to evolve. Their performances exude life and joy, belying the often dark subject matter, and as a live act, they're incredibly energising. Of course music industry economics have increased the importance of touring, but indie music is so much the richer for the personal sacrifice groups like Wye Oak make to perform in small venues for minimal financial reward.
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