There is something particularly interesting about watching electronic artists interpret their work live. It’s never certain whether you’ll get a full band or someone with a laptop. With Son Lux (né Ryan Lott), touring for the first time ever with a backing band. His sold out show at Stengade — and first ever show in Copenhagen — saw him accompanied by a drummer and guitarist in what was only their 18th show together.
Interpretation is really the way to look at the set. While the basics of all of Son Lux’s songs were there, thus making them each readily identifiable, the listening experience was still completely different from his albums. The biggest changes in dynamics come from the guitarist; as recordings, these are not guitar-centric songs, so the moments when the distortion is hit the hardest have a dramatic effect.
Then there is Lott himself: Limited to the space behind his keyboards, he is strangely compelling to watch. He often has his arms raised aloft — perhaps the only bit of him that can be seen from the back of the packed room — or moves in jerky motions to match glitchier music. Even during his quieter songs, he dances with with an enthusiasm that doesn’t quite match up but is infectious all the same.
One of the biggest shocks, however, is his voice. The whispered fragility of the vocals on his records, bolstered there with dozens of overdubs, gives no indication of just how strong his voice really is. Not only is it resonant and often emotive, but it carries through the cadences in the songs where the other instruments fall away and, as another example, when he comes back alone for the encore to play a minimalist version of “Lanterns Lit” Lott has a clear idea of how he works as a recording artist and as a live performer, and he knows how to execute each. His show might not be flashy, but it’s still an experience.