Image by Karen Sterling
Holding it together
The Fiery Furnaces' complexity doesn't steer them off track
By Katy Henriksen
Published: December 11th, 2007 | 8:14am
Dec. 8, 2007, in Brooklyn — The recently opened Music Hall of Williamsburg is a 21st-century ballroom that in no way resembles the dingy, low-ceilinged and cozy appeal that was Northsix, a longtime music venue that brought the likes of the Mountain Goats and Beirut to Brooklyn. The tri-level space with a wraparound metal mezzanine and balcony, the stairwells lined in neon blue, has a decidedly industrial feel — and the design is no coincidence. The owners of the space also run the venerable Bowery Ballroom of Manhattan, which harkens to the days of Vaudeville rather than postmodernism. To be certain, the slick grandeur of the Music Hall is yet another incarnation of the rapid transformation of the neighborhood from illegally zoned artists' lofts into high-rise luxury condos.
Fiery Furnaces frontwoman Eleanor Friedberger herself had played Northsix before tonight’s Music Hall debut. “This is always my favorite place to play, whatever it’s called these days,” she announced a few songs into the set, staying decidedly neutral in the debate before jumping into a rollicking rendition of “My Egyptian Grammar.” Touring in support of their stellar new release Widow City (Thrill Jockey), this live incarnation of brother-sister duo of Eleanor on vocals and Matthew on keyboards also featured Jason Loewenstein on bass and Bob D'Amico on drums.
Eleanor, looking all 1970s with a button-up cotton shirt tucked in to tight, dark jeans, was a commanding presence from the opening “The Philadelphia Grand Jury” to the finale of an extended encore. At times she strutted and jerked, recalling the finesse of Mick Jagger; in between verses she curled up and sat on her knees, handing the stage over to let the instruments take center. At all times she was in full control, her searing voice jumping easily from staccato punk to sultry melodics.
While the Fiery Furnaces’ love for complexity and abstractionism sometimes wander way off any sort of structured path, the live renditions stayed centered at all times, even when the band swelled to sonic cacophony. This was due in large part to Matthew’s frenetic yet completely held-together arrangements, which saw him jumping among three keyboards in the span of 30 seconds.
In a little less than an hour and a half, the Fiery Furnaces played much of Widow City, as well as tracks from their three previous albums, displaying their keen ability to interpret. After ending with a head-banging rendition of “Clear Signal to Cairo,” they barely waited to come back out for a five-song encore that began with “Tropical Iceland.” Eleanor then took requests and the night ended with a hopping and perfectly played “Blueberry Boat.” The Music Hall proved a grand and fitting space for the night’s performance, but I couldn’t help wondering what it would’ve been to see them play in the much more intimate Northsix.
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