Blitzen Trapper and Iron and Wine invite New York to slow down

November 17, 2008, at Terminal 5

By Eleanor Whitney
Published: November 19th, 2008 | 3:25pm

On a chilly Monday night, Portland’s Blitzen Trapper and Texas’ Iron and Wine warmed up the chilly, cavernous space of Manhattan’s Terminal 5 with sets that ran the gamut of Americana, invoking folk, blues, jazz, and classic rock.

Looking like gruff mountain men, the guys of Blitzen Trapper trooped on stage to start the evening with a strong set that drew from their newly released album Furr (Sub Pop). Opener “Sleepytime in the Western World” was a twangy, rock-infused lullaby that featured the layered guitars and vocals reminiscent of the classic American rock of the 1970s that would be the hallmark of the band’s set. The anthemic “Fire and Fast Bullets” and “God and Suicide” quickly followed. Both songs showcased a spectrum of emotions, among them love, death, and the darkness that resides in the human spirit, all wrapped up in wholesome vocal harmonies.

Despite their rugged, masculine image, the members of Blitzen Trapper were not afraid to add some “sha na nas” on the chorus of “Saturday Nite,” which also was embellished with a very un–dude-like melodica. The searching hymn “Black River Killer” was performed in the tradition of murder ballads and reminiscent of Nick Cave. The reception to Blitzen Trapper was enthusiastic from the crowd at the sold-out venue. Unfortunately, the set lost momentum at the end, as songs descended into indulgent guitar solos and feedback, and ended without resolution or fanfare.

If the audience was enthusiastic about Blitzen Trapper, it was ecstatic about Iron and Wine. Fans let out a roar when Sam Beam, sporting a very busy beard, took the stage. The first four songs of the set featured only Beam on acoustic guitar and backing vocals contributed by his sister Sarah. Before he could begin his first song, “He Lays In The Reins,” fans screamed at the top of their lungs, “I love you!” Beam smiled, “Dad, are you here? Mom, are you here too? You gotta let me know about these things, I’ll get you passes.”

The quiet nature of the opening songs, including the audience favorite “Upward Over the Mountain,” was contrasted by the intensity of the applause that followed them. They showcased Beam’s lyrical talents and highlighted his ability to paint a vivid picture of rural American lives and childhoods, growing up, giving in, loving, and losing. For the fourth song, Beam invited a pianist to join them on stage. “We’re gonna do a new song,” he announced. “It’s called ‘Godless Brother In Love.’ Go figure that one out.” Beam’s gentle guitar strumming fit perfectly with the expertly placed notes of the piano and the delicate “oohs” of Sarah Beam’s harmonies.

The set had a distinctly sleepy feeling and many in the audience were caught stifling yawns. Couples spent the evening gazing deeply into each other’s eyes and, certainly, Iron and Wine’s music seemed better suited to be listened to in the privacy of one’s own living room in front of a fire than in an oversized, impersonal club. The contemplative mood was broken only for an instant, when someone, predictably, yelled “Free Bird!” Sam Beam, borrowing a page from Built to Spill who have played the song in its entirety, began to play it, saying jokingly, “You get what you ask for.”

After the first four songs, Beam invited the rest of the band to join him. From that point forward, the focus was less on his lyrics than the interplay among the instruments and the quiet buildup of musical layers. Indeed, the set had a cool jazz feel that occasionally bordered on groovy, but was distinctly removed from the stripped-down folk sound that had begun the set. Highlights included the searching “Sodom, South Georgia,” that inspired the audience members to languidly clap along, and “Wolves (Song of the Shepherd’s Dog).” Though the large, sold-out venue seemed to be incompatible with Iron and Wine’s style, it managed the nearly impossible, as it invited New Yorker’s to slow down, chill out, and enjoy life’s quiet moments in all their complexities.

For more pictures from this show visit Venus Zine's Flickr page.