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Hotel Cecil

LIVE REVIEW: Pere Ubu, Hotel Cecil, 29.05.2018

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Pere Ubu live at Hotel Cecil, Copenhagen, Denmark

In the 40 years since they began their career, Pere Ubu have never been worried about making their audiences comfortable. Their music is harsh, their lyrics are often grotesque, and singer David Thomas has cultivated a voice that is unsettling to its very core.

But what is most discomfiting about Pere Ubu’s performance at Hotel Cecil is Thomas’s own obvious discomfort. There is no way to not acknowledge this: Thomas has trouble getting up the stairs to the stage, getting across the stage, getting settled on his stool. There is a chuckle in the audience as he repositions himself with the help of his bandmate, and as the music starts he spits back at the crowd, “I really appreciate you laughing at me, asshole.” And though there is fire and life in his retort, there is still a pall over the first part of the set.

Once Thomas is back in storytelling mode between songs, the mood in the room shifts back to the weird: Thomas intones that “…one out of two songs is about monkeys. I’m sure it makes some kind of sense, it makes sense to me,” before the band play “Monkey Bizness” followed by “Carnival.” Robert Wheeler, responsible for electronics and theremin, has what is either a toy ray gun hooked up to a contact mic for glitchy sound effects, or an instrument that looks remarkably like a toy ray gun hooked up to a contact mic (he seems delighted with it, whatever it is). Darryl Boon serves as a wonderful reminder that a clarinet can sound weird as fuck when taken out of context and is probably under-utilized by bands opting instead for more electronics.

It all strikes exactly the right tenor of the strange post-punk band that, despite a few pop tricks up their sleeves, is still just a strange post-punk band. But then there comes the awkwardness of the end of the show; it seems that, despite Thomas’s mobility issues and the stage not being optimally accessible, the convention of an encore is going to be met. And the crowd are appreciative, never halting their applause for a second until the band return and cheering anew when Thomas comes on stage a minute after the rest of the band starts up. It doesn’t seem like gratitude enough, though, for this unnecessary cruelty for what is ultimately only one song. But the band are to be admired and appreciated. Touring is hard on performers that are younger and more mobile. We should count ourselves lucky that Pere Ubu are still willing to do this.

LIVE REVIEW: US Girls, Hotel Cecil, 06.05.2018

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US Girls live at Hotel Cecil in Copenhagen

US Girls’ Meg Remy styles herself as the creative force behind her project than a solo artist. There are no musicians credited on her most recent albums (this year’s In a Poem Unlimited and 2015’s Half Free), but rather producers are credited for building the tracks. So it’s a surprise when she takes the stage at Hotel Cecil that she’s backed by a seven-piece band, including a backing vocalist and a miniature saxophone.

The band is already playing “Velvet 4 Sale” when she and her backing vocalist join them. She jumps straight into the song. With her enormous, multi-piece band, the work translates very well. The references to funk and disco come through very clearly and sound more organic than the records — especially the saxophone — and the band have mastered the live fade out.

Remy never says anything to the audience the entire set, but she’s very present throughout the evening. The performance is full of dramatics, of Remy acting out the gender politics themes of her work, most memorably when her saxophonist menaces her and her backing singer with his tiny saxophone. The lighting choices, however, make it difficult see these details, and I’m not sure how much audience members even a few rows back pick up on. Considering the musical style and the fantastic costuming of the whole band (wide legged trousers, cheetah print jumpsuits, military style jackets), it would be fantastic to see the pageantry played out on a brightly-lit, full disco-style production.

It’s not the most straight forward evening and Remy doesn’t give us any signposts along the way, but she does make an impact. This is definitely a case where the components are all there and it’s only a matter of waiting for the staging to catch up.

LIVE REVIEW: Cindy Wilson, Hotel Cecil, 02.03.2018

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Cindy Wilson live at hotel cecil Copenhagen

There is no way to know exactly what to expect from Cindy Wilson’s solo set at Hotel Cecil. The B-52s singer released a debut album under her own name late last year that bears more resemblance to Hope Sandoval than new wave party rock. The show starts early, there’s just enough snow on the ground to delay buses and trains, and it’s our first visit to the new venue.

Hotel Cecil has preserved the feeling of Jazzhouse, though the bar now takes up more space. It’s the same intimate feeling, though, which is particularly good tonight because only about 50 people have shown up for the gig. This is the challenge that Wilson has walked out to, but she is instantly buoyant.

It helps that amongst the small crowd that has assembled are some super fans. They are here for Wilson as a solo artist, they know every word to every song on her new album and it’s preceding EPs, and they do not shout requests for B-52s’ songs.

Cindy Wilson live at hotel cecil Copenhagen

While some of the soft, dreamy vocals of the album make it through, Wilson’s live set is much higher energy. She’s swinging her arms and kicking around, surrounded by a band who grin like they’ve found the best gig in the world. Wilson is manipulating her vocals, twisting knobs, and tacking theremin outros onto almost every song. This feels like the logical place for the woman from the new wave band to be; performing live, it’s clear that Cindy Wilson is still a pop singer, but there is an experimental edge to it. There’s that little bit of weird that endures, that keeps her a safe distance from the blandness that she’s tried to avoid throughout her career, and she’s found it in a way that’s separate from the space and the band that has defined her up to this point.

With all that said, it’s an early night. Everything in Wilson’s solo catalogue only adds up to an hour, and by 21:30 it’s time to go home. Yes that hour was good fun, but maybe an opener on the bill would have fleshed out the evening a bit more.

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