The Dodos at Spiegelworld

The Dodos, c/o Clarissa Roudabush
The Dodos absolutely killed it last night, putting on an enrapturing show at Spiegeltent. Fans are well acquainted with their sound and stage presence – what can start simply as a folky-country acoustic ballad can rapidly accelerate and capture more exotic elements, chattering percussion, and singer Meric Long’s lullaby-quality voice keeps up with the pace.
Spiegelworld (a colorful venue and a diamond in the rough of South Street Seaport’s tourist vortex) pleasantly proved itself as an intimate and appropriate space for the group. The duo were aided with extra percussion and bells on multiple songs, and they played a vibrant selection from their two LPs, including ‚”Men,” ‚”The Ball,” and ‚”Fools” ‚Äì the latter with an extra-long intro. The Dodos were perfectly syncopated with each other throughout the set, which is crucial for their unique cadence and rhythms. Thus even as the set felt moderately short, nobody was left disappointed (especially when the band closed with a gorgeous new song, which was thoroughly embraced by the audience.)
And let’s not forget the opening set by innovative experimental group Au (pronounced like ‚”A.U.,” as lead singer Luke Wyland clarified at the end of their set.) The Portland-based duo played a hefty serving of songs off their new album Verbs, and the presentation was simultaneously graceful and calamitous. Au’s shimmering psychedelic semblance often interrupted itself via animalistic shrieks, brilliantly strong drum solos (courtesy of drummer Dana Vlatka – ex-Jackie-O_Motherfucker, Mustaphamond) and glass bells, a touch of xylophone, and even a melodica (!).
It was a bit of a stunner seeing two bands with only five guys total between them, exuding that level of sonorous vigor and making so much (good) noise. Au + The Dodos = well-earned total approval.

The Dodos
The Dodos
The Dodos
The Dodos

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