There are so many references at play in Le Butcherettes’ set at Loppen. There’s an immediate shock of glam with glittery red fabric draped over the synth stands and every guitar shining with silver foil. There’s a militant punk jolt when frontwoman Teri Gender Bender struts out in front of the stage, yelling and thumping before jumping behind a synth, dressed in a fatigue-style jumpsuit with a red band painted across her eyes. There are moments of disco and camp and heavy hits and rock rage.
Le Butcherette’s set is a pageant, pure performance from beginning to end. It’s theatrical and fun, mostly led by Teri’s dizzying energy. She’s undeterred by little things like not having a mic when it will do just as well to bellow into the crowd, or the face paint that runs with sweat and gets smeared along the sides of her hands. No, she’s too busy bouncing around the stage, belting her heart out, stripping off her jumpsuit to reveal a sparkly red dress during — what else? — “Take My Dress Off.”
Teri’s what make the show, for sure, but she’s backed by a smart and sturdy band who can match her vibe. And when there’s scarcely a pause between songs, one suspects that they must match her energy as well, even if in more understated ways.
The set ends with Teri climbing off the stage the same way she came on. The end of the performance is fuzzy as she begins hugging audience members, slowly making her way to the back of the crowd. The room is still dark, the house music comes up, but it’s not until she makes it to the merch table that it becomes clear that the show is over.
Expectations are high for any solo violinist. When the stage she appears on is Loppen, there’s some dissonance between the instrument and the setting. Sarah Neufeld showed, however, that the musician herself was in exactly the right place.
The Arcade Fire violinist’s songs hint at a Celtic, traditional influence, but her arrangements are adventurous and abstract. This becomes clear when she’s joined by her drummer, whose nuanced and creative playing transports Neufeld’s songs beyond their atmospheric recordings to something unexpectedly energetic and intense. At times, he comes close to upstaging Neufeld and her circular song structures with samplers, shakers taped to drum sticks, and subtle electronic inflections.
The energy stands in complete contrast to the fact that a large chunk of the small audience remains seated for the whole of the performance. In absence of seats, many people directly on the floor in good view of the stage. But this audience, however small, knows Neufeld and her work and is held rapt by her performance. Noise travels very easily in Loppen, and the vibe would have been incredibly different if the audience hadn’t been completely silent, if the more muted notes were muffled by talking, if fingers tapping on a snare couldn’t be heard.
But the energy is in Neufeld’s style of performing itself, which is obviously influenced by years of being in a band versus an orchestra. She never stands still and often swings her legs around when she moves. There is strength and muscle to in her playing, regardless of how rapid and slight her movements.
The standout movement of the evening was an extended pizzicato solo that swept Neufeld away as much as any guitar solo could have. But again it was her accompanist that rooted the song in something too abstract to be rock’n’roll, and so much more divine because of it.
Photos by Morten Aagaard Krogh (mortenkrogh.com)
What could be better on a cold, wet Monday evening than a bit of stoner rock at Loppen? A great deal of Copenhageners would have understandably replied “staying warm and dry at home,” but Elder, the headlining act this evening, certainly have their fair share of hardcore fans.
“Stoner rock” tends to denote a particular mentality rather than a well-defined genre. Of the three bands playing tonight, what unites them is a love for Black Sabbath, vintage equipment, and the endorsement (implied or otherwise) of the ‘erb. Openers Carousel tend towards the more traditional hard-rock end of the spectrum, but this is perhaps not the right crowd for that.
The Oakland-based, follicularly-gifted quintet Mondo Drag are another case entirely. Drawing from esoteric 70s prog, in the vein of Goblin, King Crimson and Camel, the band’s extended jams resonate much more with the audience. The Ozzy-esque vocals are there, as with basically every other band in the stoner category, but the band is at its best when they focus on keyboard-led instrumentals.
But as soon as Elder begin tearing through “Compendium”, the opening track of their 2015 LP Lore, you get an idea of how the genre can become more than an enjoyable romp through Black Sabbath’s major works. The influences are still there in the chugging bass riffs, but frontman Nick DiSalvo’s guitar can suddenly become ornate and melodic, riding the drums and bass like the foam on a rough sea.
Describing this as their billionth appearance at Loppen, the band clearly feel at home. And after two hours of waiting, the audience is fervently on their side. Beer splashes everywhere, and bassist Jack Donovan nearly beheads a few people in the front in his frenzy. A few obligatory technical glitches do little to dent the enthusiasm of either band or audience, and as the evening draws to a close, Elder proved they were definitely worth enduring the awful weather.
Photos By Morten Aagaard Krogh (mortenkrogh.com)