No one could ever accuse Brooklyn’s Big Thief of being work shy. Formed in 2015 soon after all four band members graduated from Berklee College of Music in Boston.
Debut long player ‘Masterpiece’ was released soon after in early 2016. Since then there’s been no let up in their musical output, 2017 saw the release of ‘Capacity’ which was followed by the double whammy of the all conquering ‘U.F.O.F’ and ‘Two Hands’ in 2019. Despite this prodigious output there’s been no drop in quality with all receiving universal critical acclaim.
Live, Big Thief are quite a different proposition from what you get on record. Starting with ‘Masterpiece’, it’s immediately apparent that they possess a power and intensity that’s only truly unleashed in the live environment. Their unique brand of unhinged indie-folk-rock sees Adrianne Lenker’s voice and guitar backed to varying degrees by guitarist Buck Meek, bassist Max Oleartchik and drummer James Krivchenia. Meek in particular adds a magical otherworldly layer, weaving unique textures and sounds through melodies, all carried along by Lenker’s fragile vocals. It’s during the second track ‘Capacity’ as the band comes centre stage to congregate around Kirvchenia’s drum kit, you can see they’re playing for each other and with a confidence that only reinforces the incredible levels of musicianship each of them possess.
Beautiful guitar interplay continues on the uplifting ‘Shoulders’, the signature progression of notes punctuating each verse and chorus beautifully. The hypnotic ‘Mythological Beauty’ begins slowly, and, as the momentum builds, Lenker’s voice is tender yet never more than an octave away from going feral.
The crowd goes into rapture for breakthrough track ‘Not’, a song we later learn was actually written in a bathroom in Glasgow. As sonic homecomings go it was pretty impressive, Lenker transitioning into a frenzied indie guitar goddess as the song reaches its chaotic climax.
It’s no surprise that Lenker probably needed to take a breather so things are dialed down a bit for the next segment that sees her take centre stage, the others look on in admiration as she performs the acoustic ‘Mary’, ‘Orange’ and a new solo track called ‘Zombie Girl’. The rest of the band rejoin her for the beautifully restrained ‘Two Rivers’ before it’s time for another new song called ‘Bruiser’, another strong composition with an infectious rippling guitar and hooky chorus.
After a brief group conflab we’re treated to ‘Forgotten Eyes’ then a taste of summer with the uplifting ‘Cattails’. If you’re after a reference point, think Harvest Moon era Neil Young crossed with Throwing Muses and you’ll not be too far off the mark. ‘Terminal Paradise’ is delicate but unbalanced – in a good way!
Lenker shared some of her thoughts about Glasgow – there’s something special here that makes her want to write. So it was only appropriate that the main set finished with yet another new one called ‘Happiness’, a wonderful lesson in restrained songwriting. We never did get told where it was written. After briefly vacating the stage the band returned for one last song. U.F.O.F.’s opener ‘Contact’ is quietly threatening from the start, each verse slowly unravelling, becoming more claustrophobic until… the scream!! It was worthy of Black Francis at his most primal.
You can’t help but get the feeling that we’ve just witnessed something pretty special in this stunning old trading hall and if 2019 was the year Big Thief were elevated to indie rock royalty, then on tonight’s evidence they’re in for a long reign.
Words and pictures: Calum Mackintosh @ayecandyphotography