Before we start, I apologise for any lack of objectivity there may seem to be during this review. There will be every intension to stray away from hyperbole, but if any creeps through, please understand, it’s only due to the amount of sheer adoration I have for the musicians featured in this show. I should explain that the various landmarks in the short history of Monsters of Folk that have lead up to this point have all sent me jumping for the ceiling with glee and excitement. A chance to experience it all first hand was an opportunity I was not going to pass up.

The definition of the word “supergroup,” Monsters of Folk brings together the masterminds behind Omaha’s Bright Eyes, Conor Oberst and Mike Mogis, alongside M. Ward and My Morning Jacket frontman Jim James. This rabble of indie-folk heroes was making its time in the UK quite brief, with only two shows in Britain before hopping the channel to mainland Europe. Tonight’s show in England’s capital was preceded with a late addition stop last night in the Welsh capital, Cardiff. As I made my way down to London on the day of the show, I filtered through most of the immediate responses to the Cardiff show online, some going as far as saying it was “the best gig Cardiff had hosted in 10 years.” Having spent quite a bit of time in Cardiff and having seen what it’s got to offer, I thought this to be quite a bold statement; but all the same, I reveled in the fact that it could hold some truth.

The Troxy in East London was the venue for tonight’s gig. A wonderfully large, pastel-adorned, art deco-type affair that one could imagine being used as a set for a scene in Miami Vice. Once the crowd had finally filtered in – despite the incompetence of much of the venue’s staff and with no arranged support act – the band rocked up to stage and, without a word, tore it down with opening number “Say Please.”

A three-hour (or so) epic then ensued. A large crowd, some more patient and appreciative than others, were treated to a variety of the Monsters of Folk’s own original compositions, combined with work from the extremely large collective back catalogue of all those performing. Even the band’s touring drummer, Centro-Matic frontman Will Johnson, stepped out from behind the kit for a duet with his pal Jim James.

Plenty of the audience were more than happy to have music thrown at them from all angles for the duration. However, one criticism for such a long show may be that an interval could have been a good idea. Restroom breaks and bar visits caused a few disturbances throughout the set. Having said that, taking it in turns and switching around those on stage for certain numbers, the band worked hard to keep the crowd entertained, sliding seamlessly through rockier My Morning Jacket tracks and the subtle quiet numbers of Bright Eyes and M. Ward.

A particular highlight for me was seeing Conor Oberst and Mike Mogis let rip on a handful of classic Bright Eyes tracks. The tour following 2007′s Cassadaga for many took Bright Eyes in a different direction, recreating some of their older material and largely ignoring calls for their more favoured tracks. So on this rare occasion, it was delightful to see the pair put smiles on plenty of people’s faces with the likes of “We Are Nowhere And It’s Now” and “At The Bottom of Everything.” Conor, not necessarily famed for his abilities as a vocalist, also lent a couple of verses to Jim James. With his hauntingly amazing vocal range and abilities, the My Morning Jacket frontman quite literally filled the room with harmonies and sent shivers down the spines of all those present.

The encore performance was the icing on the cake to a wonderful evening. Everyone on stage was clearly caught in a moment and reveling in the ecstasy of performance. Jim James busted out his best moves, gyrating and spinning in a fashion that would make James Brown proud, and Oberst delighted in destroying Will Johnson’s drum kit and even toppling the piano before exiting the stage.

Whilst the band’s self-titled debut album, released earlier this year, may have sparked mixed reviews, the reservations about it are certainly made up for in the live performance. Monsters of Folk is a group made up of some of the most vibrant and talented performers of our generation, and with their live show, they have proven themselves as such, the aptly named Monsters of Folk.

Set List:

Say Please
The Right Place
Soul Singer in a Session Band
Slow Down Jo
Man Named Truth
Lullabye & Exile
We Are Nowhere and It’s Now
The Big Picture
Golden
Ahead of the Curve
Vincent O’Brien
Wonderful (The Way I Feel)
Chinese Translation
One Hundred Million Years
Smoke Without Fire
At Dawn
Baby Boomer
Dear God (Sincerely M.O.F.)
Temazcal
To Save Me
Kathy With A K’s Song
Goodway
Nothing Makes Sense
Look At You
Lime Tree
One Life Away
Map Of The World
Sandman, the Brakeman and Me
Smokin’ from Shootin’
Hit the Switch
Losin’ Yo’ Head

Encore 1

At the Bottom of Everything
Whole Lotta Losin’
Another Travelin’ Song
His Master’s Voice

EDITOR’S NOTE:
The photo used above is from a 2007 Bright Eyes/M. Ward show. There was a strict ‘No Photography’ policy at the Troxy show.

The self-titled record sees Barrow in collaboration with Billy Fuller and Matt Williams of Fuzz Against Junk and Team Brick, respectively, both outfits being signed to Barrow’s own Bristol-based Invada Records, the label on which Beak> was released.

Recorded over a period of only 12 days and in one room, Beak> is effectively a lengthy live studio recording that is presented as is. With little post-production – including no dubbing or relaying – the record is a credit to all three members’ musicianship to sound as tight and polished as it does. An album of experimentation of sorts, it’s the polar opposite of the lengthy process of writing and recording a Portishead album – a breath of fresh air for both Barrow and listeners alike?

The record presents a tasty mix of instrumental, electronic goodness that sways effortlessly between Kraut-influenced drones and lengthy shoegazey repeated melodies and rhythms.

Each track seems to bring something new to the experience, and with every listen, more discoveries further still. Whilst there are recurring themes, such as the echoed vocal elements of opener “Backwell” and “Iron Action,” a steady driving rhythm also acts as its backbone. The apparent limitless direction of its recording style plays a major role in its overall sound. Beak> experiment with the (tried and tested) jamming method of making music and present a raw yet most enjoyable listen.

“Battery Point” is a clear standout track, but not just for being the longest, at just over seven minutes. It is a mythical, swirling masterpiece, building ever so slowly with its sweet sounding delayed guitars accompanied by Barrow’s minimal drum beat. Through headphones, this track will send you spinning and yearning, waiting for the release that never really arrives before its fade, and yet somehow it allows for complete mental relaxation.

A refreshing record for sure, Beak> is at points a challenging listen and at others beautiful and astonishing. Without distraction, its psychedelic vibe takes over, literally painting pictures and getting right inside your head and twisting your brain. Upon the ending of finale “Flax Bourton,” you’re back in the real world and it’s rather disappointing – so spin it again?

What Will We Be sees the hairy, movie star romancer return with his latest LP; a long player, in the true sense of the term. Tying up at just under an hour, back to front, this record provides a bulging example of Banhart’s extensive repertoire and demonstrates his forcible desire for a lack of boundaries.

Catchy folk song and opening number Can’t Help But Smiling,” flows smoothly into second track, “Angelika” which provides a neat segue into an upbeat Latin ditty, reminding of mojitos in the summer time. This album is a real blending pot of… well, everything.

“Baby” plays welcome to a gentle disco beat, that one could imagine being played in funky dance halls of decades gone by. “Rats,” one of the albums longer tracks is an all out, 70’s rock and roll number with changing tempos, key changes and warm sounding bass licks, all sprinkled with Devendra’s own Robert Plant-esque vocal performance.

What Will We Be is a peculiar record in that it is Banhart’s first upon a major label, yet there is no clear stand out singles. The fact is, any one of these tracks could be released individually, to moderate success. A condition of release of the record through Warner’s subsidiary Reprise, one may wonder? There definitely doesn’t seem to be any of the more challenging listens that have been features of the man’s previous efforts. This isn’t necessarily a bad thing.

This is an album of individual songs, yet somehow they all work together. It is in the record’s variety that it maintains interest. The result is Devendra Banhart’s most capturing and listenable album to date. In it’s diversity, nothing feels out of place, the track listing is superb, throwing our ears right through the motions and our hearts as well.

If any questions remain of a ‘sell out’ over a move from indie kings XL, there’s really no bother. We’ve had Devendra’s experimental stuff (which was ace) but now here’s a big juicy album of tasty, satisfying tunes, which he demonstrates to high standard and seemingly with ease.

This really is a lovely record. Sit down with it for an hour and the time will pass unnoticed. What Will We Be is exactly what I expect and want of Devendra Banhart. Challenging but not alienating, beautiful, but not quaint and certainly listenable, but not disposable.