…Less Pool/More Party
Resident DJ’s Punches (Photos courtesy of Chris Doss Photography)
A fever was running across the crowd at The Williamsburg Waterfront Pool Party when Cut/Copy took the stage on Sunday. We, in the audience, were frenzied, squirming with anticipation, and dripping sweat. Delirious, from the previous 3 sets (including 3 separate DJ intermissions from Punches), we pushed up against the barricades when Dan Whitford came out donning his own perspiration-drenched oxford.
There’s Something In The Air Tonight!
Now, I foolishly imagined that Cut/Copy would takeover where Memory Tapes left off. A set of somber looped guitar riffs and drum cadences—only climaxing during ‘Bicycle’ and ‘Pink Stones’—the Tapes’ idyll gave the audience an aesthetic, much-needed respite from the pulsing electro-sonics of the opening bands, Restless People and Glasser. Cut/Copy ensured that the break didn’t last long.
Dayve Hawk (Memory Tapes)
Coming out in full swing, Cut/Copy began the set with their synth-pop anthem ‘Lights and Music’. This universally lauded tune ignited a crowd looking for rhythms less ethereal and more hammering. As flocks of Wayfarer-sporting, 20-somethings, began hopping about wildly, Cut/Copy promised elation which they promptly delivered. “All your friends have gone away, So let’s celebrate”, Whitford yelped, bouncing along with his audience.
Dan Whitford and Tim Hoey (Cut Copy)
Launching into a setlist comprised mainly of tracks from In Ghost Colours (2008), the show was geared towards the tastes of second-generation fans. As I found myself in that lot, I wasn’t at all put off by the band’s preferential treatment of their more popular album. Piquing my interest further, Whitford announced that they would play a few songs off their forthcoming record. ‘Where I’m Going’ and ‘Blink and You’ll Miss The Revolution’ mark a new direction for a band versed in synth-pop. The former relies on psychedelic-inspired percussion paired with Beatlesque vocals. The latter reaches back to their new-wave roots, evoking thoughts of David Byrne. They also played a track called ‘Alisa’, a groovy ditty which featured Whitford repeatedly calling out ‘Alisa’ . This eclectic sampling displayed the band’s willingness to take risks. Inherent in all change there is a gamble. Try something new and you may bifurcate your fanbase into those who see progression and those who see misdirection. Luckily for Cut/Copy, the audience ate up their new sound. These tracks worked perfectly as appetizers and have us all eagerly awaiting the new album’s release.
Dan Whitford (Cut Copy)
Disregarding the 7pm park curfew, the guys came out for an encore, playing ‘Sands of Time’ and ending with ‘Out There On The Ice’. In the waning moments of the show, I managed to peel my attention from the stage to the waterfront backdrop. Situated on the East River and looking out at Manhattan, the burning crimson-orange sky dotted with sparse clouds seemed to summarize the day. It was glowing and radiant, effervescent and manic, and maintained a silver lining throughout its cooler moments. The audience was all the while dictated by a single emotion: Euphoria. And though it often manifested itself in frenzied commotion, it made me think that what Edwin Denby said was right. There is a bit of insanity in dancing that does everybody a great deal of good.
* Big Ups to my new buddy, Photographer Chris Doss who hooked me up with these awesome pictures from the show. If you want a better idea of what the show looked like, check out his Hi-Resolution shots at www.chrisdoss.com.
Lights & Music:
Blink and You’ll Miss The Revolution->Hearts on Fire (Big Ass Lens):
Lights and Music
Where I’m Going*
That was Just a Dream
Feel the Love
Nobody Lost, Nobody Found
Blink and You’ll Miss the Revolution*
Hearts on Fire
Sands of Time
Out There on the Ice