Live music review: finding hope with Weyes Blood at Stubb’s
As the sold-out crowd at Stubb’s BBQ performed the standard between set activities, beverages, restroom breaks, locating friends in the crowd, etc. in preparation for the highly anticipated headline act of the evening, Weyes Blood, a familiar and widely underestimated beauty of a tune piped in over the PA. There’s something about a carefully selected playlist before an artist takes the stage that sets the perfect tone for the evening when executed well—an art in itself. “New York Groove” by guitarist Ace Frehley, a track from his ‘80s solo effort amid the rise in disco popularity is a true gem and served its purpose well this evening, setting the tone for the pending newfound love.
If anyone is capable of wrapping us in a warm blanket of ethereal comfort as we navigate these dystopian times, on this particular night and in this particular space, it would be Weyes Blood. Natalie Laura Mering’s (Weyes Blood) 2022 release And in the Darkness Hearts Aglow, written as an uplifting response to her somewhat less optimistic previous output Titantic Rising, begins with the isolation-induced “It’s Not Just Me, It’s Everybody”, a revelatory response to a pandemic that translates effortlessly into everyday existence. As Mering takes the stage, with this opening track as our introduction to the experience, grace, and beauty exuded as she floated effortlessly around the stage, the underlining theme of hope that runs through her music comes to life.
With a quick hello and taking a moment to acknowledge that the air outside at Stubbs “smells good”, Weyes Blood follows up “It’s Not Just Me…” with another standout track from the most recent release, “Children of the Empire”. Wasting little time showcasing her strength with these tracks early on in the set Mering established eager anticipation for what could be in store for our new relationship.
Drifting with intent between the first and second installments of her self-proclaimed album trilogy (the third yet to be released) Mering and her accompanying band executed her brand of expansive psychedelic-tinged, folk-inspired indie-rock, chamber pop to perfection as the set progressed over 14 perfectly timed tracks. The conversation between songs covered several topics. Swimming in Barton Springs pool and the openness to exploring swimming holes in graveyards, our break-up with astrology, and a quick crowd personality assessment based on the DVDs provided by attendees (upon request presumably). In case you are wondering, Hair, Lost In Translation, The Best Little Whorehouse In Texas, and Almost Famous were standout selections, feeling somewhat appropriate. There was music. And it was glorious.
“God Turn Me Into A Flower” and “Andromeda” back-to-back found Mering exploring her modern world application of Greek Mythology to our current stage of humanity. Whether it be our drive as a species to advance ourselves technologically or the basic emotions of engaging in a newfound relationship, Mering’s cynical view of her religious upbringing has inspired her exploration of alternative views of the world, educating her own.
“Movies” brought the full realization of Mering’s ability to weave a majestic musical piece that self-contradicts with lyrics that shine a light on the false hope fed to us, compliments of the silver screen, wrapped in a musical climb to the height of hope. A height of hope more realized while viewing despair in the rearview mirror finds its way into the following track “Hearts Aglow” adding to the thematic core of our journey and signaling that the end is near. The end of our current experience with Weyes Blood. Our newfound crush.
A dance party was suggested for the latter portion of the set by Weyes Blood which may have seemed an unlikely move, considering what many would imagine a dance party to be but, Mering’s dance party is less of a “shake your ass” type of dance party and more of a dance our way slowly into the future of the night. A dance of accepting our dystopian world and a dance of accepting that we hold the key to surviving our existence through our collective hope and connection.
Returning to the stage Weyes Blood gave us “Something To Believe” as the last performance with full band on stage before Mering bid us farewell with a solo performance of “Picture Me Better”. As we shuffled towards the exit, some with their Mering-issued white flower in hand, most with an inspired sense of hope, a David Bowie song soundtracked our exit and reminded us of the power of music when in the right hands.
Stay tuned for part 3 of this trilogy.
All photos by Michael Maly
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