Concert Review: Polyphonic Spree / Pilotdrift

by Mike Orren

LOWER GREENVILLE — I'm writing this review primarily for those who have already seen The Polyphonic Spree and might be interested in how the new look and material went over at the Granada last night. So, my one descriptive bit of prose for newbies: Remember when Fleetwood Mac got back together and did that reunion concert on MTV and it sucked ass, except for that one great moment when the USC Marching Band came barrelling into the hall for "Tusk?" A Spree show is like ninety minutes of that moment.

From the moment the band took the stage, it was clear that we were getting a look at PS 2.0. The rumored new outfits were blue military uniforms with boots, namepatches, red crosses and an insignia I couldn't see clearly on the sleeves. They went well with the new material from the upcoming album The Fragile Army which I've heard some folks describe as "angry." I wouldn't go that far, but I would describe the new songs as ballsy. They're denser, feature more electric guitar and are shorter and more song-y. They're doing more in less time, and it suits them well. While the Spree's earlier material is sprawling and as much about the vibe and experience, these were songs that I could imagine hearing on the radio, if such a thing still existed.

I'm not enough of a Spreeniac(?) to peg the titles of the new songs, except for "Mental Cabaret," which is currently streaming on the band's site. There was one that was clearly about Dubya ("All Wanna Know?"). They all retained the Spree's upbeat spirit, even with the added edge.

The band made great use of the Granada's screens (something that I wonder more bands don't do) with a video stream of retro and retro-modern images juxtaposed with images of masses -- of people, cars, skeletons, animals. It fit nicely with the music and seemed to tell a story without being too bloody literal. Rush and Genesis circa 1990 could take a lesson.

The other three times I've seen the Spree have been outdoors, so this indoor show with the Granada's clean sound system was an amazing treat -- you could pick out every instrument and harmony.

The first two thirds of the show were very heavy on new material, and while the crowd was receptive, the mass singalong kicked into full gear with older favorites, particularly "When the Fool Becomes A King." Tim actually went a little over the top on this one, with an extended buildup to the punchline, but I suppose carping about that is like getting on Tex Avery for being a little too wild

The Spree's snare player was a bit on the wild side, though, rolling on the floor and jumping in the way of other band members on occasion. Late in the show, he went barrelling through the audience, leaving a path of spilled drinks and people in his wake, and then dervished his way behind the back bar, still swinging his drumsticks. It was the closest I've ever seen a member of the Granada's "Serenity" team come to losing his cool. But order was restored, with some minimal damage to the beer supply.

The band returned for the encore in the blue robes with red stripes (from the last tour), holding hands and winding their way through the crowd. (Note: the dudes who come out and re-arm the airguns with confetti kinda' take the "are-they-or-aren't-they?" drama out of the encore.)The highlight of the encore was the cover of Nirvana's "Lithium." I know the version on their new EP, Wait has gotten some tough reviews, but the live version of the song cooked. It's edgier and heavier on electric guitar (like much of the new material). And I'm now convinced that "Lithium" should have always ended with a piano solo.

Tim DeLaughter closed the show with shouts out to Kinky Friedman and to Dallas Mayoral candidate Zac Crain. Like every Polyphonic Spree show I've seen, it was a transcendent experience, albeit a little less so thanks to the chatty couple in front of me and the screamer behind me who seemed to think that the Spree was appearing on a new volume of Freedom Rock. You can't help but leave a Spree show happy, though. And this time, I left hungry for the upcoming full-length CD release.

Ask and ye shall receive. I forgot my camera, but The Transcenders' Travis Behl came through with some snaps from his cell phone.

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