Call me naïve but I am surprised tonight to find that Bon Iver is not in front of me, alone on the stage, with just his guitar and his words to please.
I had expected him to have his butt on his seat and his heart on his sleeve, I expected him looking shy and retired in the lofty SECC.
I – and it has to be said many others – had been concerned about how the venue and the artist would marry.
Bon Iver? The SECC? It can’t be! Justin Vernon’s beautiful, melancholic tone will surely be lost in that soulless, industrial box.
His life’s intentions and experiences will inevitably drift over our heads, losing letter at a time, until the fans at the back are left lyric-less and cold, hovering their hands towards the big screens as if they’re fire-filled bins, chattering under their breath “needs… intimate… setting”.
Bon Iver it transpires, is more than emotionally powerful; nine talented musicians fill the stage (the set includes two full drumkits), each playing with talent and, importantly, character.
The basic set up is rag-like material hanging from the overhead beams with various lights projected, that raggedy cloth becomes lush jungle, Indian interior, Egyptian tomb.
There are more surprises, support act The Staves are invited on stage for a sumptuous rendition of ‘Re:stacks’, the three sisters sharing one microphone, harmonising in a way that grabs attention yet doesn’t seek it.
The poignancy of pauses after lines such as “when you’re money’s gone and you’re drunk as hell” could have been diminished by an eager vocal; The Staves compliment Vernon perfectly with high notes that relax and satisfy like a long, deep intake of breath.
‘Blood Bank’ becomes a different beast on stage, pulsating with a sax solo to start and distortion finish; Bon Iver sounds… heavy.
The most rapturously received song is unsurprisingly ‘Skinny Love’, for which eight leave the stage and we’re watching what we expected – an acoustic performance.
Recognisable from the first strum of wire, you can hear the smiles all around – there are people here tonight that were quite clearly introduced to Bon Iver through Birdy’s cover of the song.
I’d hazard a guess that one particular girl who, earlier in the set, while the rest of the audience are gawping in awe of The Staves’ vocal ability, shouts “oh my God one of them’s got a fringe and I’ve got a fringe too” is probably one of those people!
Songs from the second album sound at home in the larger setting too, the eighties power ballad swells of ‘Beth/Rest’ in particular sit nicely in the stadium-type atmosphere.
Live, the prince-like guitar licks are prominent and passionate as Vernon swoons and the stage is swathed in pink.
The faint drum march of ‘Perth’ rolls in and the audience is, again, delighted, as the song grows dense and thrashes forward the brass section show off and Vernon’s voice is louder and more energetic than could have been anticipated.
‘Minnesota’ is another chance for the brass section to woo and wow and ‘Holocene’ is introduced as a song about human insignificance, a song about how little impact we’ve made to the big picture, and how “assholes” are just those who can’t handle that insignificance.
The audience listen and the line “…and at once I knew/ I was not magnificent/I could see for miles, miles, miles,” gains new, comfortable, clarity.
Gorgeous.
Words: Leonie Colmar
