Tag Archives: Lord Huron

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The Life-Affirming Power of Lord Huron

February 25th, 2013

Lord Huron – Music Hall of Williamsburg – February 23, 2013


The expansive, hazy mountain range painted on the backdrop that decked the stage for Los Angeles band Lord Huron’s sold-out show at Music Hall of Williamsburg on Saturday night perfectly set the tone for the band’s performance. The types of big thoughts that can pass through one’s mind when looking at such a perfect panorama—life, death, love, the wonders of nature—are all themes that pervade the five-piece’s sentimental debut album, last year’s Lonesome Dreams.

Full of jaunty, layered guitars and vocal harmonies, Lord Huron at times evoked the uplifting alt-country of My Morning Jacket or the Afrobeat fusion of Paul Simon’s Graceland, along with slow-building cinematic swells and joyful moments begging to be clapped along to. Although Lord Huron’s recorded music doesn’t shy away from the understated and mellow, the live version of numbers like “She Lit a Fire” and “The Problem with Your Daughter” had a much sharper bite than their album counterparts, while meditative number “The Ghost on the Shore” was wisely left in its minimal state.

The group’s lone cover of the night, “Strangers” by the Kinks, fit in well with the reflective, exploratory theme of the show, and its lyrics “If I feel tomorrow like I feel today/ We’ll take what we want and give the rest away/ Strangers on this road we are on/ We are not two we are one” seem indirectly referenced in the sentiment of Lord Huron’s lyric: “Out there’s a world that calls for me, girl, heading out into the unknown/ Well if there are strangers and all kinds of danger, please don’t say I’m going alone,” which singer Ben Schneider contemplates on “Ends of the Earth.” Lord Huron’s combination of contagious melodies with the lyrical voice of a philosophical and wonder-filled world traveler clearly resonates with crowds, and as everyone sang and danced along, the vibe inside Music Hall of Williamsburg was as positive and life-affirming as it might be around a campfire, if those misty mountain ranges in the background were real. —Alena Kastin

Photos courtesy of Mike Benigno | mikebenigno.wordpress.com

Contest

Grow a Pair: Win Free Tickets to See Lord Huron on 2/23

February 19th, 2013

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Lord Huron come to town to play two sold-out shows at Music Hall of Williamsburg this weekend, on Saturday and Sunday. The tickets went quickly, but you may still be in luck because The House List is giving away two tickets to see the L.A. five-piece on Saturday. Want ’em to be yours? Try to Grow a Pair. It’s easy. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (Lord Huron, 2/23) and a brief message explaining why you deserve a free Saturday night in Brooklyn. Eddie Bruiser, who decides these matters, will notify the winner by Friday.

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Honesty Is the Best Policy

April 29th, 2011

Lord Huron – Mercury Lounge – April 28, 2011

(Photo: Leslie Kalohi)

(Photo: Leslie Kalohi)


It was after 11 p.m. at a rapidly filling Mercury Lounge and we were at least three layers down in the world-music permafrost. The first dulcet tones of Lord Huron’s stunning single “Mighty” played over the PA as the band marshaled itself slowly and even a little deliberately to the stage. The sound was post-colonial, of the same type that Paul Simon used so effortlessly on Graceland and Rhythm of the Saints—the same beautiful simulacra of Eastern and Southern Hemispheres that Vampire Weekend used later, although with an admittedly updated set of influences.

Lord Huron, an L.A. band I’m certain a hack music publicist would describe as Silverlake Soweto, proved to be both of and above this venerable cannon of White Guys Playing World Pop. “Mighty” swelled big enough, like many of the band’s compositions, to melt any frosty comparisons to old bands, even if the derivation was obvious and unhidden. The crowd rollicked to the band’s first two songs, the aforementioned “Mighty” and the upstroke “Into the Sun.”

The sound was very nearly too big, given that many of the melodies rely on group vocals of two or more members, in addition to some of the delicacy of the recordings turning into more punched-up electric numbers live. But Lord Huron slowly screwed themselves into tighter and tighter progressions, shedding some of the early muddiness for clarity and crystalline Afrobeat guitar lines. On “Son of a Gun,” vocalist Ben Schneider turned a pedantic cliché into something meaningful, his brand of graciousness and earnestness not necessarily practiced and also entirely intentional. Most important, given the tradition of world music being co-opted by the West, this didn’t feel a bit dishonest, even if the themes were unapologetically neocolonial. —Geoff Nelson