Live music review: Swans evades fire code shutdown at Paramount, delivers two hour onslaught
Michael Gira’s multi-genre outfit Swans showed an Austin crowd that age is just a number on Sunday night at the historic Paramount Theatre down the street from the Capitol. For those unfamiliar, Swans is a New York band that has gone through various phases, line-ups, genres, and forms through the leadership of multi-instrumentalist, Gira since 1982. The night proved chaotic when Gira and the band told audiences to stand up in the seated venue and advance as close to the stage as possible. The request unsettled the staff, almost resulting in a fire code shutdown that threatened the gig. Nonetheless, the experimental act completed a vicious set that not only shattered the sound barrier but showed that the New York band isn’t done doing what they came to the music world to do.
The Paramount is an entirely seated venue with no standing room, a challenge for a band like Swans. Swans’ music is loud, ear-shattering, hearing damage level loud. Therefore, audience members usually prefer to participate in the spectacle by standing GA in a traditional rock venue. Still, the historic beauty of Austin’s Paramount Theatre was an ideal setting to honor the 40-year legacy of Michael Gira’s band and his ever-rotating list of musicians and collaborators. For Swans, a powerful, impactful setting is needed to present their body of work that isn’t for the faint of heart.
Coming off the release of Swans’ latest album, The Beggar, the group hit the road once more for a full-fledged tour. For the expedition, Gira enlisted the help of longtime guitarist and collaborator Norman Westberg. Appearing onstage solo, only equipped with his trusty axe and a pedalboard, the gifted guitarist sculpted different loops and effects that crafted an interpretive spectacle that sparked discussions about the history of Westberg and Swans after the opening set concluded. A fitting choice to kick off the night, making for an ideal oddity that mixed well with the ear-splitting presentation the New York outfit was due to deliver.
When Swans arrived onstage, it dawned on the audience that the band planned to play with the house lights on, an odd choice that paid off seamlessly. When the music began, Gira, armed with only an acoustic guitar, started a lengthy instrumental drop-tuned drone section, which evolved into a harrowing soundscape that tested the waters with extreme volume. The title track from Swans’ 16th album, “The Beggar,” opened the night, making for a welcome introduction to the current era of Gira’s orchestra.
We saw what Gira’s gang of misfits was fully capable of for the opening number. The breathtaking use of steel guitar by Kristof Hahn was apparent from the get-go, with sounds you might hear from a classic horror movie. Think of nails on a chalkboard, but in a good way. Hahn and Gira have been playing together on and off since 1988, and the lap steel expert didn’t hold back when delivering his beautiful, chaotic contributions. The bass playing was also an instant highlight, which showed decade-long collaborator Christopher Pravdica going along with Gira’s conductorship with chemistry you could only gain from genuinely understanding the musical vision from his longtime bandleader.
The onslaught continued with “The Hanging Man,” a track off Swans’ 2019 effort Leaving Meaning. An earlier cut, the audience seemed to lock in tight for this number. We witnessed some mouths moving, attempting to sing along, but were drowned out due to the deafening volume of the music. After this offering concluded, Gira asked the audience to stand and move towards the stage, a request that determined the course of the rest of the evening. The crowd happily obliged the frontman’s request and packed the aisles as they moved from their assigned seats. The gig took an energetic turn, much to the venue’s staff already polarizing reaction to the noise act to begrudging chagrin.
The gig continued with more new cuts, “The Memorious” and “Cathedrals of Heaven.” Both were relatively short songs compared to some of the 20-plus minute monsters fans have become accustomed to. Gira took the songs’ more composed natures and expanded them to his adventurous desire. Exciting moments came with the frontman using his pointed fingers to conduct the band, addressing different parts of the ensemble to become louder and louder with each acknowledgment. When the set reached near its conclusion, Gira introduced the group, showing his appreciation for the evening’s opening act as well. Even at 69 years of age, Swans’ leader showed his young-at-heart enthusiasm by standing up from his chair and dancing around with joy that only comes from the success of being in a band that delivers some of the craziest music from the rock n’ roll underground.
Before long, Swans’ tour manager entered the aisles, attempting to tell fans that the city threatened to shut the show down, likely due to fire code regulations. We told him to type on his phone and show fans what they needed to do to prevent such an event. The aisles slowly cleared, with people obliging the request to avoid violating regulations that would bring the Sunday night gathering to a screeching halt. “Cloud of Unknowing” made for a late-night highlight. This 25-minute, epic monster takes its time getting into its terrifying climax that entranced the Austin venue with an ultimate payoff in a tornado of sonic catharsis.
When a show like this comes to Austin, it’s important to witness a long-running music act that’s been exercising their oddly beautiful craft for decades. Bands like Swans aren’t common, and it’s particularly mesmerizing when spectacles like this can run for over two hours and never miss a beat. Swans broke some barriers on Sunday night, and when fans asked Gira in the lobby after the show if he’d be back soon, the songwriter replied, “Invite us back.” We will, Michael, we will.
Swans will continue to tour this Fall before heading to Europe later this year.
All photos by Case Cockrell
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