Spoon House of Blues December 30, 2014
Beloved Austin band Spoon's audience is comprised of two different types of individuals: 1) people who love the band; and 2) people that love the band but have no idea who they are. But how can this be?
Spoon is one of many groups that have continued to gain popularity during a time of major change in the music industry. In a previous world where a band's success would lead to massive radio play, arena tours and high record sales, Spoon's success has continued to grow in a post-iTunes world through different avenues. Their music (not unlike other indie bands) has been featured in commercials and soundtracks for many movies and television shows.
Not to mention, Spoon manages to pop up in the algorithm of just about every male-led rock band on any given streaming site; seriously, try typing in the National, Interpol, Phoenix, or even Tom Petty, and Spoon is going to make multiple cameos. Their sound has slipped into the public's musical lexicon without any notice -- unless we are speaking of active fans. Tuesday night's House of Blues show was full of true Spoon fans who love and follow the group, as well as people that were not even aware that they had been fans for years.
Spoon's musical digest spans 20-plus years of work, so concocting a set that honors original fans while achieving the purpose of touring (generally to promote a new album) could be a challenge. Tuesday, the band succeeded by focusing on their work of the last 12 years, showcasing favorites dating back to 2002's Kill the Moonlight -- "Small Stakes" as well as arguably their best known song "The Way We Get By" -- while managing to play six new songs off their newest effort, They Want My Soul. Opening with new songs "Rent I Pay" and "Rainy Taxi" and following up with audience favorite "Don't You Evah," the show was heavy with songs from 2005's Gimme Fiction and 2007's Ga Ga Ga Ga Ga.
Spoon's sound has managed to accomplish something extremely difficult. The band is undeniably retro in their influences, but in no way seems like throwback kitsch. They are able to combine a kind of London-cool 1960s vibe with the 1990s "alternative" sound, wrap it up in an Austin bow, and create contemporary music. Unlike other groups who have attempted to create out of reference and end up sounding like unoriginal copycats, Spoon does not impersonate moments in pop history, but rather creates newness from them.
Much of this comes from the band's undeniable talent. A lot has been written over the years of the abilities of lead singer/guitarist/songwriter Britt Daniel and drummer Jim Eno, and with good reason. Daniel knows how to engage an audience with energy without seeming like a gimmick. Eno is like a one-man sound machine. There is clear intent in their music, which is tight without sounding overly rehearsed.
The real highlight of Tuesday's show was newest member and keyboardist Alex Fischel, though. Combining raw talent with frenetic energy, His sometimes haunting and forceful keys sounded like the love child of Morticia Addams and the late, great Ray Manzarek. "They Want My Soul," "They Never Got You," and "Don't Make Me a Target," all played back-to-back, were particularly excellent.
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