Thursday, July 31, 2014
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Review: Radiohead at the Susquehanna Bank Center

There's not a band in the world better at projecting post-millennial unease on a grand scale than Radiohead, the six man art-rock outfit from Oxford, England that spent Wednesday making beautifully jittery music on a lovely late spring evening in Camden.

Review: Radiohead at the Susquehanna Bank Center

There’s not a band in the world better at projecting post-millennial unease on a grand scale than Radiohead, the six man art-rock outfit from Oxford, England that spent Wednesday making beautifully jittery music on a lovely late spring evening in Camden.

All century long, ever since the career-redefining Kid A in 2000, Radiohead have been turning inward, relying on fractured polyrhythms, ambient textures and Thom Yorke’s elegantly alienated vocals to convey a sense of sublime digital-age anxiety.

At the Susquehanna Bank Center on the final night of a U.S. tour that began in February, Radiohead played a terrific 23 song set. It began with the glitchy typewriter-tapping groove of “Bloom” and ended just over two hours later as the enveloping “Everything In Its Right Place” - which, for Radiohead, means everything is in a constant state of flux - fractured into electronic clutter.

The band - Yorke, chief co-conspirator Jonny Greenwood, his brother Colin Greenwood, Ed O’Brien, Phil Selway and Clive Dreamer, all of whom played more than one instrument - performed only two pre-Kid A songs, the soaring “Lucky” and prog-rock mini-suite “Paranoid Android,” both from 1997’s OK Computer.

That might not have been enough for loyal fans wishing the group would reach at least as far back as 1995’s breakthrough The Bends, or throw in the cover of R.E.M.‘s “The One I Love” they’ve been frequently performing on this tour.

But though the band now largely abjures the overtly anthemic impulses of their early work, that doesn’t keep their shape-shifting songs from connecting, whether via the propulsive bass line of “15 Step,” the four-drummers-at-once attack of “There There (The Boney King Of Nowhere)” or Yorke’s operatic vocal flights as they rose and fell on “Nude.“

The Radiohead live experience is as stunning visually as it is musically. At the Susq, they performed in front of an ever changing wall of lights said to be constructed out of 14000 recycled plastic water bottles, fitting nicely into a gestalt with the cheerful Yorke-endorsed eco-warriors from climate change awareness group 350.org working the amphitheatre plaza.

As the band cranked up the guitar and delivered the ripping one-two post-modern roadhouse blues punch of “I Might Be Wrong” and “Bodysnatchers,” 18 video screen panels scattered above the stage offered close ups of the individual members, a deconstructed portrait of the band working in unison below.

The most attention was paid, of course, to Yorke, a wonderfully odd front man who at times moved like a spastic marionette and at others looked like a pony-tailed and bearded Martin Short doing an Elvis Presley imitation as he gyrated his hips while gripping the mic stand.

During the absolutely gorgeous “Give Up The Ghost” from last year’s The King Of Limbs, six screens showed him bathed in blue light as he sang in intertwined harmony with a looped recording of his own voice.

Radiohead haven’t done anything all that revolutionary lately to equal their Kid A reinvention or the headline grabbing choice to sell 2007’s In Rainbows on a pay-what-you-wish basis online. They haven’t released a truly great album in quite a while. But two decades into a career that’s wholly unique in rock, they’re still doing a bang up job providing an essential service that none of the many bands they've influenced can quite manage: being Radiohead.  

Previously: Radiohead Set List Follow In The Mix on Twitter here
              
                                   

Dan DeLuca Inquirer Music Critic
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Dan DeLuca Inquirer Music Critic
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