Blonde Redhead At The Glass House

Categories: live review

Last night the ever ethereal Blonde Redhead and instrument-hopping Midnight Movies played a sold out show at the Glass House in Pomona.

Los Angeles based Midnight Movies opened, keeping the starry-eyed audience’s attention with a mix of slow droning vocals and constantly switching instruments. Most impressive was Sandra Vu, who changed from drums to bass to flute.

Vocalist Gena Olivier, whose stage presence was reminiscent of a modern Nico, sometimes would play ritualistic drums while singing- a dramatic feat.

By the time Blonde Redhead took the stage, the Glass House encompassed so many people, fans were spilling out over the taped-off walkways. Bouncers were not pleased.

Although the venue was sold out, the crowd possessed an eerie quietness. Perhaps it was the mood of the melancholy music, or perhaps Blonde Redhead appeals to the incredibly docile, but in between songs one could hear a pin drop (save for the one or two who would periodically scream out “I love you!”).

The trio opened with "Dr. Strangeluv", filling the hall with Kazu Makino’s shrill and haunting delivery. Guitarist Amedeo Pace side-stepped delicately as drummer Simone Pace (Amedeo’s twin) led into their next song "23", a track that exquisitely demonstrates their tender and bewitching allure.

Named for Blonde Redhead’s new album, go here for the 23 review.
Although the energy was palpable, the crowd did not dance but swayed softly and politely.

They even managed to keep still during "Equus", a timid track on the album Misery Is A Butterfly that Makino transformed into a screeching powerhouse.

Once Blonde Redhead’s set was finished, the crowd came alive coaxing the band to come back for their usually-done encore. They did, of course, and the masses were treated to four more songs including the wistfully yearning "Top Ranking" and "Silently".

Click here to see photographer (and the Weekly's Associate Production Manager) Crystal Yang's slideshow.

*Because the Glass House removed the stage's front barracade, photographers could only take shots from the side corner.



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