Blonde Redhead

October 22, 2010, at the Vic Theatre

By Britt Julious
Published: October 25th, 2010 | 1:00pm

Chicago’s Vic Theatre had signs plastered on the doors warning the crowd that strobe lights would be used during Blonde Redhead’s performance Friday night, and they weren’t kidding. Most times the effect was luminous and heady, a perfect complement to the trio’s current luscious sound. It’s the sort of cinematic and poignant music one would imagine hearing if Nouvelle Vague was a contemporary film movement born in the Lower East Side of an idealized Manhattan. Kazu Makino's voice is heavy and haunting, taking the listener for a loop, tearing emotions into bits, and leaving them raw and amazed at how forcefully they were dragged in.

Many of the songs on Blonde Redhead's latest album, Penny Sparkle (4AD), are heavy and brooding. That’s not to say they aren’t as lovely as the light "23" from the album of the same name or the quiet, beat-heavy "Melody" from Misery is a Butterfly—there’s just a darkness that permeates many of the slower tracks, such as show opener "Black Guitar." Makino wore a strange mask similar to a horse's head which set the surreal and elegant tone for the night.

The band quickly transitioned to their current single, "Here Sometimes," a poppy gem with a simple yet provocative, propulsive synthetic beat that found Makino removing the mask as she began to dance around the stage. The lyrics were frequently indecipherable, a problem throughout the night but most likely a reflection of the venue's acoustics than anything produced by the band. However, the melody is strong enough that merely listening to it is enjoyment enough.

On “Not Getting There,” her frequently subdued vocals broke forth with a vivacity that mirrored the pulsing energy of the set. The song is one of the bands shortest but most straightforward and inviting, a true sing-along pop jam that represents everything they have built up to since ditching the no wave, Sonic Youth-like aesthetic of their earlier work. Amedeo Pace’s vocals added to a couple of tunes was welcome, and the clipped “Falling Man” was a sweet interlude showcasing the sweeping production from 23 and Penny Sparkle.

Blonde Redhead ended the evening with an encore comprised of their earlier, more aggressive art rock work. Makino shredded and wailed and ended the set wearing the same mask she opened with, seemingly coming full circle from the beginning of the set that began slowly. The final number of the night was the jangly, haunting "Equus" from Misery is a Butterfly. Like many of the evening’s bigger songs, the audience sang along and danced in turn to Makino's jumpy bouts around the stage. The band was at their peak, enthusiastic and joyful. It perfectly capped the long set, a treat for the diehard fans whose tastes evolved in alignment with the aesthetics of the band.

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4AD Records