Last night we went to Bottom of the Hill to see Xiu Xiu. They've been touring with some pretty strange characters: Mary Halvorson and Jessica Pavone, Prurient, and Evangelista.
We missed Mary Halvorson and Jessica Pavone, an experimental viola and guitar duo, but made it in time to see Prurient, a noise "artist" who faces the back of the stage armed with a pair of microphones and a very small amp. He seemed to be trying to achieve the most ear-splitting and gut-rumbling sounds possible, which is fine, I suppose. Some people are more about getting you to feel the music rather than hear it, but it certainly thinned the crowd. I find it personally sort of annoying that in order to fully experience such a set, you have to sacrifice being able to really hear any of the following sets. I compromised. I stuck some napkins in my ears and waited for something interesting to happen. Nothing did. The set, however was blessedly short.
Evangelista was next, and they easily took up the remainder of Prurient's set just by standing around on the stage and talking. I've never seen a band take so long to set up. Evangelista's lead singer is the Geraldine Fibber's Carla Bozulich, and she clearly felt constrained by her role as a supporting act. She's gone from industrial rock to alt-country, and now she's doing gothic stuff, but it's like she jumped on the gothic train going backwards. The whole set filled me with a sort of uncomfortable nostalgia. Some of things I heard last night were "Thank you, Beezlebub!" and "There is one word which has not yet dried completely upon our parched lips. The word is...love! Can you say it with me? Love!" I was looking around to see what decade it was when, to my horror, I saw Miss Bozulich come down off the stage.
Now, this is something you may not know about me, but I am something of a magnet for performers who leave the confines of the stage. I was pretty far back in the crowd, though, and I thought, "There's no way her microphone will reach all the way back here." As it turns out, however, with help from the audience, it reached exactly far enough for her to grab me around the shoulders and press the microphone into my boobs (she's significantly shorter than me) and sing her next verse into my chest while the crowd parted around us. She smelled god-awful (hey, last day of touring--I've been there) and I wanted to punt her back on to the stage, but she had a lot of really obnoxious, heckling fans in the audience so I just bore it out.
Another thing you might not know about me: I am something of a magnet for six foot+ fans who come late and need someone to stand in front of. This is especially true if said fan has a big-ass messenger bag slung behind him, and even truer if they have a really long ponytail and/or are amateur flash photographers. I battled with two of these last night. Always a good time.
At last, Xiu Xiu took the stage, looking a little worse for the wear. A whiny Evangelista fan shouted up at them, "You're quiet!" "You're not," retorted Jamie Stewart. A snappy and appropriate comeback, to be sure, but not as good (according to the Aristocrat) as last time, when he told the opening heckler, "Stop being an asshole, right now."
The set was not as good (or as long) as the last show they played at BOTH. It featured heavily from the new album and was generally more rhythmically consistent and accessible than usual. Nevertheless, it is always great to see Xiu Xiu live. Each one of them is a virtuoso in their own right: Jamie, as a lyricist and performer of true passion and energy; Caralee as a musician who rarely plays fewer than two instruments at a time, and Ches as a percussionist who seems to play every piece in his six-foot-tall, 40-piece kit (half of them gongs) at the same time. Once I could have sworn he was playing with a whisk and a basting brush.
All in all, definitely worth it, but it was a lot to go through to see a fairly short Xiu Xiu set. I will seriously consider the number (and members, and fans) of the opening bands before going again.