Beirut @ Sydney Opera House,Sydney (05/01/12)

Wed 11th Jan, 2012 in Gig Reviews

The last time Beirut toured Sydney it was 2008, and the band played at the Manning Bar. One can only wonder if Condon was aware of how much things would change by the time of his return. Selling out the largest venue in the Opera House is no mean feat, but there aren’t many bands more deserving than Beirut. There were countless moments in the evening where the audience was transported away from Sydney’s harbor and deep into the heart of the bands inspiration, the Balkans: a world with loud brass, fast tempos and brilliant musicians .

Beirut’s set began with the surprising opener Scenic World. The track from the band’s debut album set the tone for the evening as the lush brass arrangements and rich accordion sounds melded with the Opera House’s famed acoustics. The Shrew from the March of the Zapotec EP saw the band endeavor to involve the audience with fast tempo bursts and hand clapping. Even from such an early point in the concert, the groups’ strong Balkan roots were ever-present as Zach Condon and co. channeled their brass inspirations.

Condon’s ability to captivate a crowd was successfully tested in the opening of Elephant Gun, before the vast dynamics of band were added into the mix. The range of Beirut’s sound – from intimate to epic – is one of the bands defining characteristics on record. It was more evident, however, in their live show. Rich brass lines formed musical collages with percussive blasts and walls of sound formed as quickly as they were broken, leaving behind a solo serenading of Condon. The band’s ability to relish in both extremes served as a true testament to the versatility that has made them as lauded as they are amongst their peers.

Condon’s enviable talent as a multi-instrumentalist was also on show throughout the night, as he switched between ukulele, trumpet and flugelhorn, demonstrating a strong talent in each. With a brief rendition of Vagabond aside, the early stages of the performance showed Beirut as connected with their older material as their new. The set was as much The Rip Tide as it was Elephant Gun and The Gulag Orkestar. Appeasing both punters and dedicated fans in the crowd, older tracks were embellished with the rich orchestration of later material, with Postcards from Italy ending with a lengthy jam of bursting brass sounds against Perrin Cloutier’s skilful accordion playing.

A Sunday Smile has always been one of the special Beirut tracks, one that defines the complex and varied sound of the band in all their manifestations. With rich Balkan influenced brass lines, the French swing influence and Beirut’s own unique song writing style, the audience favourite was met with rapturous applause after its explosive conclusion. Tracks including East Harlem and Port of Call saw The Rip Tide’s material showcased for the first time in Australia, giving fans a chance to hear one of 2011’s best, albeit brief, albums. In a live setting, the short length of many of the tracks on the album is ignored, as the splendour of Beirut’s live show is in embellishment, not recreation. Long jams and improvised sequences punctuated the evening, with the gypsy swing of March of the Zapotec track The Akara serving as a reminder of Beirut’s refined and original sound.

Leading the band through audience favourites, Condon played through Flying Cup Club tracks, Nantes and Cherbourg, both highlights on an already magnificent record. In a live setting, Nantes egresses its softer moments, with drum solos, complex accordion lines and flaring brass crescendos. On the other hand, Cherbourg maintained its softer moments highlighting Condon’s lyrical prowess. Assumed set-closer Santa Fe began, as on record, in a stripped back style, before building to an explosive finale which brought a clearly overwhelmed audience to their feet.

Drawn back to the stage with the rest of the band absent, Condon and his trustworthy ukulele gave the crowd an intimate recital of one of Flying Cup Club’s most adored tracks, The Penalty. While the talent of the rest of the band is evident, Zach Condon’s performance served as a reminder to the audience that he remains the wunderkind responsible for the music of Beirut. The band concluded the captivating performance with the title track from The Gulag Orkestar EP, giving the audience one final farewell to satisfy them until the next time; and with the reception the band received, one can’t imagine it will be too far off.