Hot Chip, Architecture InHelsinki DJ's @ Billboard,Melbourne (25/01/09)

Tue 27th Jan, 2009 in Gig Reviews

A little over a week ago I attended an utterly confusing Fuck Buttons gig at the Corner and, well, there is something very un-indie-cool in admitting that was I less than taken by the English duo’s heavily-experimental electronica. Whilst I acknowledge and respect the fact that they are trying something new and innovative (and have, in the process, garnered extremely positive reviews), I remained largely unmoved by the experience of their live show. Without doubt, that evening only served to make Hot Chip’s Australia Day eve gig at Billboard all the more enjoyable. Though their use of synthesisers and drum-beats are mildly comparable to that of Fuck Buttons, their live performances bear no similarity whatsoever. Go to a Hot Chip gig and I challenge anybody to stay glued to the floor.

The evening began with a rather underwhelming set from the Architecture In Helsinki DJ’s, featuring two of the band’s regular members Cameron Bird and Gus Franklin. Starting strongly enough with a relatively fluid mix of ‘80s pop, hip-hop and dub, things took a strange turn for the worse when Beyoncé’s god awful chart-topper Single Ladies ( Put A Ring On It ) as given almost two whole un-edited minutes before Madonna’s Like A Prayer took over. Soon, Jimmy Buffet’s If You Like Pina Coladas was given a run-out and things had all gotten a little silly. Some portions of the audience may have enjoyed the cheese but most were clearly unimpressed. Being the middle of summer, there was, in truth, no need to warm up the near-capacity Billboard crowd but considering the $60 ticket-price it would have been nice for a less tepid support act.

Hot Chip took to the stage with a minimum of fuss, assuming their respective positions behind a set of synths, drums, keyboards and an electric guitar before launching into One Pure Thought from last year’s exceptional release, Made in the Dark. In Alexis Taylor, Hot Chip possesses one of the most gifted men in contemporary music and his sublime voice was on immediate display, rising above a heavy wall of beats and synth. Appearing, as always, rather geeky in a too-big Gang-Bang-Dance T-shirt with beady eyes barely visible behind his enormous glasses, Taylor flittered about his corner of the stage, playing keys, bongos and intermittently, a pair of maracas. “Thank you and welcome to the Hot Chip show!” greeted guitarist Al Doyle before the eclectic Bendable Poseable and the aggressive Shake A Fist highlighted the band’s more rave-like tendencies. A thick industrial fuzz carried over into a heavier rendition of the radio hit And I Was A Boy from School, the night’s first track from their 2006 breakthrough record, The Warning as a rapid strobe light lit what was now a thoroughly energised and receptive crowd. Despite its reworking, Taylor’s sweetly delivered vocals were still prominent, complemented by the harmonising backing of Doyle and Hot-Chip co-creator Joe Goddard. The up-beat techno sounds of Hold On followed with Doyle and percussionist Owen Clarke switching instruments mid-song while new live-drummer Leo Taylor continued to do well in keeping with the tempo. The slightly mellower Alley Cats provided a preview of the band’s forthcoming album before Alexis Taylor strummed a guitar that appeared far too big for him on the melodic Touch Too Much.

‘We’d just like to say hello to our friends from TV On the Radio and Lupe Fiasco who are here to tonight,’ called out Doyle somewhat sheepishly. Clearly the band is still very relevant to those within the music industry as well. A heavy bass line and some time spent in the crowd by band-spokesman Doyle accompanied an extended intro to the hugely successful Over and Over; Mr. Fiasco himself visibly enjoying the band from the side of stage. Out At The Pictures, although driven by an 80’s synth and drum beat, did serve to indicate Hot Chip’s rock sensibilities while the slower irregular beat of Wrestlers displayed Goddard’s weird but strangely cool monotone rap-stylings. The night was evidently reaching its peak and it was no surprise when Taylor began teasing out the opening to Ready for the Floor, a song that, with great electro beats and Taylor’s truly wonderful vocals, perhaps best exemplifies what Hot Chip are all about. Frenetic dancing from all at Billboard and then, with a single “thank you”, the band were off.

After some hearty ‘Hot Chip, Hot Chip’ chanting from the crowd, all six members (including Felix Martin on drum and synth machine) returned less than two minutes later and began the comparatively softer, more soulful title track, Made In The Dark. My Piano from the DJ-Kicks series picked the tempo up again before the maracas and a tambourine were back out for No Fit State. After an evening of incredibly layered sound, there was a level of irony that the closing song of the set, a minimalist cover of the Prince/Sinéad O’Connor epic Nothing Compares 2 U, received almost the biggest cheer of the night. A polished and respectful version of the love ballad and one that demonstrated Taylor’s vocal range and the sort of direction his talent might otherwise have taken him.

Hot Chip may pull from a wide range of musical sources to create their sound but it is their skill as producers and Alexis Taylor’s ability as a vocalist which puts their live show head and shoulders above most other similarly genre-minded groups. At the end of the evening, a sold-out Billboard crowd had been treated to both an interesting and extremely enjoyable experience; precisely what this style of music should aim to be.

CHECK OUT THE PHOTOS FROM THE SHOW HERE