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Tune-Yards review – contrary and superbly visceral Tune-Yards review – contrary and superbly visceral
(about 1 hour later)
"You can see my thought processes in action," says Merrill Garbus towards the end of a brilliantly quixotic evening, as she pauses, twitches and hovers over her keyboards and effects pedals. It's an admirably accurate analysis of what has been a truly audacious performance."You can see my thought processes in action," says Merrill Garbus towards the end of a brilliantly quixotic evening, as she pauses, twitches and hovers over her keyboards and effects pedals. It's an admirably accurate analysis of what has been a truly audacious performance.
When New Englander Garbus first emerged as Tune-Yards (or, strictly, tUnE-yArDs) five years ago, she was little more than a one-woman band armed with a ukulele and a loop pedal. Now she is releasing her third album, Nikki Nack, her shtick has grown rather more sophisticated, and tonight she fronts a five-piece, mostly female band to help her realise her fiercely individualistic musical vision.When New Englander Garbus first emerged as Tune-Yards (or, strictly, tUnE-yArDs) five years ago, she was little more than a one-woman band armed with a ukulele and a loop pedal. Now she is releasing her third album, Nikki Nack, her shtick has grown rather more sophisticated, and tonight she fronts a five-piece, mostly female band to help her realise her fiercely individualistic musical vision.
Yet her art remains cerebral, contrary and superbly visceral. Daubed in facial warpaint, Garbus orchestrates a music that is all jagged handclaps, ferocious percussion and sprung rhythms. It sounds simultaneously metropolitan and tribal, particularly on thrillingly skewwhiff tracks such as Gangsta, where Garbus loops her staccato spasm of a vocal into the shrill cadences of a police siren.Yet her art remains cerebral, contrary and superbly visceral. Daubed in facial warpaint, Garbus orchestrates a music that is all jagged handclaps, ferocious percussion and sprung rhythms. It sounds simultaneously metropolitan and tribal, particularly on thrillingly skewwhiff tracks such as Gangsta, where Garbus loops her staccato spasm of a vocal into the shrill cadences of a police siren.
Manipulating joyous African-influenced polyrhythms, Garbus chirps, yodels and scat-sings, yet when she gives her voice full rein on Real Thing, which recalls the early, edgy experimentation of Neneh Cherry, she is powerfully soulful. Recent single and standout track Water Fountain is all playground chants and insatiable urges, and is shot through with the joy of self-expression at its most primal.Manipulating joyous African-influenced polyrhythms, Garbus chirps, yodels and scat-sings, yet when she gives her voice full rein on Real Thing, which recalls the early, edgy experimentation of Neneh Cherry, she is powerfully soulful. Recent single and standout track Water Fountain is all playground chants and insatiable urges, and is shot through with the joy of self-expression at its most primal.
The skeletal Bizness could be Laurie Anderson's aloof art-pop infused with a pulse and an irresistible melody, then the extraordinary a cappella encore of Rocking Chair sounds like futuristic Delta blues and draws whoops from a rapt audience. It's not been a night that any of them will forget in a hurry.The skeletal Bizness could be Laurie Anderson's aloof art-pop infused with a pulse and an irresistible melody, then the extraordinary a cappella encore of Rocking Chair sounds like futuristic Delta blues and draws whoops from a rapt audience. It's not been a night that any of them will forget in a hurry.
• At Concorde 2, Brighton, 26 June. Box office: 01273 673311. Then touring until 3 September• At Concorde 2, Brighton, 26 June. Box office: 01273 673311. Then touring until 3 September
• Exclusive photos from Tune-Yards' shoot for the Guide