Irving Plaza, NYC

August 10, 2006

As I entered the main room at Irving Plaza, a screen in front of the stage was filled with some of the most mesmerizing images I have ever seen: a fantasy movie combining real actors and computer-generated characters and backgrounds, one that, as one drawn to such films, I felt stupid not ever having seen or even heard of.  And on the loudspeakers was Pink Floyd's "Obscured by Clouds" (which was not the soundtrack to the film...).  The "film" actually turns out to have been two DVDs superimposed by the lighting guy (they can do that with modern technology).  Yet even knowing this, I will probably get both of them.  [N.B.  They were "Mirrormask" and "Mind's Eye."]

When the screen went up, there sat a guy who introduced himself as "Rob Dickinson."  (That would be Rob Dickinson, ex-Catherine Wheel.)  He played seven songs accompanied only by his guitar, which was attached to a pedal that turned his guitar into two guitars, one acoustic, the other fuzzed-out electric, which he used to excellent effect.  I had never heard this guy, so I didn't know what to expect.  I was not just pleasantly surprised, but quite impressed.  He is an exceptional songwriter, and has a marvelous voice.  What did surprise me was who he and his writing reminded me of: Steve Hogarth and recent Marillion.  There was a quality and approach to the writing and singing that was strongly reminiscent of Marbles, among others.  I'm not saying it was "as good as" or even "influenced by."  But it did remind me strongly of it.  In any case, I will probably buy his first solo album, which was just released.  Apparently, many in the audience were quite familiar with him (and Catherine Wheel), as he was very warmly received.

Down came the screen again, but this time a short (~ 7 minutes) film was shown, for good reason: the film is "Shreik," and the soundtrack is by The Church.  It was quite strange, and not really describable.  It had something to do with earth and the environment, but there were other elements.  Sadly, the sound system was not "precise" enough to make the spoken soundtrack fully understandable.  Still, it looked and sounded interesting.  Following this was another psychedlic film, "accompanied" by PF's "Echoes."

Finally, The Church took the stage.  As someone noted in The Church thread, the two guitarists (Peter Koppes and Marty Wilson-Piper) played only acoustic guitars.  However, this was largely because the band was not simply touring on its latest "electric" release (Uninvited, Like the Clouds), but also on its "unplugged" release (el momento descuidado).  And the songs they played from the former worked quite well on acoustic, with a bit of electronic "fritching."

The band opened with "Block," the opening track on "Uninvited."  A "classic" Church song, with a haunting arrangement and a brilliant song-story by bassist/songwriter Steve Kilbey, who was in fine voice.  The band then played a song that seemed unfamiliar to me, but included some nice mandolin from Koppes, and a female guest on...harp!  Then it was the neat unplugged rendition of "Metropolis," done in quasi-flamenco style, followed by a new song from the unplugged album, "0408."

After this, Kilbey joked with the audience that a "new kind of rock" needs to be created, and he suggested "Elizabethan rock."  (Apparently, he's never heard various songs by Jethro Tull and Gentle Giant!)  Anyway, the band then launched into an "Elizabethan" version of "Grind," complete with harp, mandolin and appropriate percussion.  After this it was back to the "Uninvited" album for "Never Before," sung beautifully and plaintively by Koppes.

Kilbey then played "Providence," a song he co-wrote with a musician who apparently died earlier this year.  Then it was a cool unplugged version of "Sealine" (from Forget Yourself), and another song whose name escapes me.  Back to "Uninvited" for "She'll Come Back for You Tomorrow," sung expressively by Wilson-Piper, followed by "Pure Chance," which included superb guitar work from both guitarists.

Next came a trio of truly unexpected songs: an absolutely stunning version of "Two Places at Once" (from Sometime Anywhere); a gorgeous three-guitar version of "Tristesse" (from Heyday); and an ever-building rendition of "Buffalo" (from Hologram of Baal).

Following this was yet another song that was unfamiliar to me, followed by the band's biggest "hit," "Under the Milky Way," which Kilbey introduced with hysterical self-mockery.  The band then ended with a fabulous version of "Day 5" - perhaps the best track on Uninvited.

A few general comments.

I have rarely seen more done with less lights than the band had: a minimal lighting rig provided one of the most continuously visually interesting shows I’ve seen of late.

Musically, all the members – Kilbey, Koppes, Wilson-Piper and drummer Tim Powles – were as solid as can be, but not afraid to “play around” and take a few chances now and then.  Wilson-Piper, especially, seemed to be “on,” playing some of the best acoustic guitar I’ve seen him play in many years, and Kilbey was not simply providing some of the best basswork I’ve seen him play, but was singing more expressively – even theatrically – than he ever has.  There was also a great deal of genuinely warm banter between the band members, which made the show seem a bit more “informal.”  As well, Kilbey was not afraid to take on the few “hecklers” in the audience – those who were yelling comments and song requests.  Kilbey gave them no quarter, but he was not “mean” about it. 

Finally, it is worth stating yet again that Kilbey is among the greatest poet-lyricists in rock, fully deserving of being included in the same pantheon as Dylan, Mitchell, Morrison and other great rock poets.  His song-stories are brilliantly constructed, and contain allusions, references, rhymes and double entendres that are often breath-taking.  (In this regard, the sound in the hall was quite good, especially Kilbey’s vocals, which absolutely must be clear.)  When Kilbey was singing, even the most “vocal” members of the audience were silent and attentive: had it not been for the instruments, you could have heard a pin drop.

The Church remain one of the favorite bands, both studio and live.  They are not afraid to re-arrange their songs for live performance, or even radically modify the style of a particular song.  They clearly enjoy what they do, and give 100% at every performance.  I am only saddened that I will now have to wait at least another year to see them again.