The National Live in Manila, Buke & Gase, Youth Lagoon

That night, three bands gave thrilling performances that moved us. The crowds grew thicker and fonder with every song. Each band fashioned a steady build-up, stirred the audience into loud raves, and stood out with their signature styles.  

The night was a rousing series of distinctive musical acts as American indie rock bands The National, Youth Lagoon, and Buke & Gase performed last February 20, 2014 at the Metrotent Concert Hall. 

Buke & Gase

Brooklyn-based indie band Buke & Gase opened the night with their unique home-crafted instruments that surprisingly yield loud and hammering riffs. Unlike most bands that begin the set on their feet, this duo sat during their entire performance. Buke & Gase is Arone Dyer (vocals) and Aron Sanchez. Perhaps it is better we leave it to the band to describe their music. According to Sanchez in a 2010 NPR feature:  "We’re trying to solve a problem, we're only two people and want to sound like a bigger band. We want to make a certain kind of noise and music. So the first step was, 'Well, we can't do it with normal instruments, so we need to create something.'” 

Photo by Kris Rocha, Manila Concert Scene 

Buke & Gase named their band after their modified instruments: a baritone ukulele (Buke) and a guitar-bass hybrid instrument (Gase). Their other customized gears include a “toe-bourine,” huge amps, and a kick-drum with noisemakers. The resulting sound is far from acoustic with its own brand of quirk—it’s well-amplified and up-beat, almost grungy, with abrasive guitars complimented by high-pitched vocals. (Not to mention Arone Dyer’s androgynous vibe that added a tinge of charm to their act.)

Songs in their set included “Houdini Crush,” “Hiccup,” “Misshaping Introduction,” “Sleep Gets Your Ghost,” “In the Company of Fish,” and “Your Face Left Before You,” among others. Hearing a band like this perform for the first time is a refreshing experience. For a group that only has two people, Buke & Gase actually sounds complex and spontaneous with a laid-back vibe. When the crowd cheered on, it’s evident the band’s first visit to the Philippines made fans out of new listeners.  

Youth Lagoon

The next band that took the stage was California-based psychedelic indie talent named Trevor Powers, more popularly known as Youth Lagoon. He carried on the previous band’s high-energy performance by playing the trippy eargasmic single “Mute” from his latest album, “Wondrous Bughouse.” For a song about failing to articulate thoughts and emotions, Youth Lagoon ironically conveys their message beautifully through complex musical arrangement, loud electronically enhanced riffs, and a catchy rhythm. He played titles like “Cannons,” “Afternoon,” “Daydream,” “Dropla,” and “Attic Doctor” among others.  The set also included songs from his old album “The Year of Hibernation” and sustained a trippy-chill-vibe for the audience to enjoy.

Photo by Kris Rocha, Manila Concert Scene

Youth Lagoon builds-up his performance and takes sound up a notch by enhancing it harmonically. His experimental work leans towards the sublime as listeners feel a sense of elation throughout every song. His music does not fail to entertain and feel personal. On the other hand, Youth Lagoon’s live vocals may appear too sharp for listeners as it has a tendency to be piercing when uncalled for. Overall, watching Trevor live is like seeing a mad scientist on the verge of discovering a break-through in his experiments—full of wonder and life, drawing you deeper into his private world.

Breaks in between the sets were considerably long (even the sets given to each band was quite extensive), especially for The National fans that came as early as 7:00PM for a chance to get a good spot in the concert hall. Most of them likely bought tickets just to see the band. I noticed quite a few of them preferred to sit all throughout the previous band’s performances; they were obviously saving their energy for the final band. I can’t describe just how psyched these fans were when The National finally took the stage.

The National

I remember the lights turning blue and green, and telling myself how surreal it was to watch The National live. Do I have to mention how everyone made unintelligible noises upon seeing Matt Berninger grace the stage? That I couldn’t believe I was singing along to “Anyone’s Ghost,” “Blood Buzz Ohio,” “Squalor Victoria,” “Graceless,” “Fake Empire,” “Terrible Love,” and "Vanderlyle Crybaby Geeks”? Or how the crowd jumped and moved to the music when the Dressner and Devendorf brothers played their hearts out that night? This is perhaps one of the few concerts I’ve attended where fans sang along to almost every song.  

Photo by Mars Edding

Screen shot of Matt Berninger

Though the band showcased up-beat and rhythmic tracks in their albums, I honestly didn’t expect The National to deliver a thunderous performance—and by that, I meant I didn’t think Matt Berninger would start growling a bit of the lyrics to Squalor Victoria and Mr. November towards the latter part of the set. Then again, I didn’t take into account how much beer Matt drinks during his live performances. He threw the microphone twice (or maybe more? I had limited view on the side) and spun the mic stand with his hands. I really thought he would kick the speakers off the stage.

Surprisingly, even with the stage-wrecking antics, Matt still manages to sing every word in the right tune. Moments later, guys in the crowd started head-banging and bumping people during “Graceless”. Bouncers had to restrain a few of these guys. We were on the verge of an almost mosh pit.

Just when I thought the night couldn’t get any better, Matt walks off the stage into the crowd, all the way up to the back. I was unfortunately on the opposite side unable to touch this drunken rock star. To the lucky ones who were almost crushed by Matt's crowd surfing, I envy all of you!

Check out the concert here from Coconuts TV 

The band performed a lengthy set of 20 songs, with an encore performance of titles like Mr. November, Terrible Love (of course that track belongs in the encore!), and the final song: an acoustic, almost pure vocal rendition of Vanderlyle Crybaby Geeks. In my mind all the loners, weirdoes, and audiophiles were about to cry and have a group hug. And like a lot of wonderful events, we were reluctant to leave because we didn’t want it to end.

If you’re like me who expected a particular song that wasn’t played, you’d feel a little upset. My night would have been perfect if they played “All the Wine,” which is, for the record, my favorite The National song. But for now, I was content reveling at how "Terrible Love" never fails to stir so much emotions in me. For a concert full of screaming people, I felt the solitude. This is as real as it gets (yes, sad bastard right here). 

Of course I thought it wasn’t over, they didn’t play my song. This isn’t going to be the last time.

The Set List

MOG/WAR: THE AUDIO-SWOON

Mogwai & Warpaint Live in Manila

It is difficult to measure how exhilarating it is to finally watch one of the most awaited rock artists perform live, especially when you’ve always thought flying to another country was the only way that could happen.

February 13 marked a first in Manila concert scene history, as Scottish post-rock legend Mogwai and American indie rock sirens Warpaint finally touched base in the Philippines. Crowds came as early as 6:00pm at Metrotent, Ortigas for a chance to meet the bands. By the time the concert doors opened, everyone was eager and ready for the eargasm they have long waited for.

Local indie artist Eyedress opened the night with chill-beats that certainly got the crowd’s attention. The artist’s eclectic and catchy arrangement, matched with slurry, almost haunting icy vocals, and trippy electronic synths were fair enough to set the right mood for the evening. Amused with the performance, listeners took a new appreciation for this diverse genre.

*Photo grabbed from Cecila Forbes

But nothing could prepare fans as Warpaint took over the concert hall with their valiant yet unassuming stage presence. Laid-back and comfortable in their own skins, they graced the stage like it was their home. Emily Kokal entranced the crowd with her cool modulated voice, as Theresa Wayman and Jenny Lee Lindberg tore through their guitars with defining riffs, and Stella Mozgawa killed it on the drums. It’s always a treat for concert-goers when these bands show-off unique antics on stage. They move and dance just the way their music sounds. While we know they take their music very seriously, they don’t forget to have fun during performances.

The band served up new tracks from their latest self-titled album, as well as songs like “Undertow,” “Elephants,” “Love is to Die,” and “Billie Holiday” from their old albums. Our hearts flipped a little when Theresa sang lead vocals for “Hi,” her lithe figure moving with the song’s haunting base riffs. They stirred the audience with their version of “Dreams” (originally performed by Fleetwood Mac) mashed-up with their hit single “Undertow.”

Warpaint’s music and energy is quirky and spontaneous, at times noir, sensuous and permeating—the crowd gets a sense these rock vixens were not merely putting on just another show. This is the type of band that wants to make a connection to listeners, and I’m certain it was felt all the way to the end of the hall. Experiencing their performance live is one for the books; Warpaint creates music with authentic life-force.

*Warpaint signing their album for Eva 

Most of us were still reveling from Warpaint; we couldn’t get over their performance. But we couldn’t believe the night wasn’t over either—when finally, Mogwai took the stage.

Touring for over 15 years, the band has no need for any visually ornamental theatrics. We knew their music would speak for itself. And yet, we remained in awe because we honestly didn’t know what to expect from a live Mogwai performance. They made a quiet entrance with the song “Heard About You Last Night,” the first track from their latest album “Rave Tapes.” Crowds grew thicker, and thrilled raves could be heard all across the concert hall as the band catered to our auditory pleasure. Aside from playing tracks from their latest album, the band also played tracks from old albums. These include songs like “Summer / Ithica 27ø9” (B-side release, 1996), “Fear Satan,” “Helicon 1,” “Travel is Dangerous,” “The Lord is Out of Control,” and “Friend of the Night,” among others.

Mogwai is well-known for its trademark bass riffs that are sometimes dark, melancholic, and amorous, other times ambient and dreamy. While they are commonly identified under the post-rock genre, the band hesitates to limit their music with such a label. The majestic quality of their sound is marked by dramatic control of loudness and softness akin to most sensitive and ardent musicians. They have mastered the synchronicity and dynamism of a classical orchestra.

*Mogwai Live in Manila, video from Therese Jamora-Garceau 

For years, the absence or muffled quality of Mogwai’s lyrics has been the conceit of the band’s craft. No other excerpt better articulates this concept than the opening lines of the song “Yes! I am a Long Way from Home,” (taken from their 1997 album, “Mogwai Young Team”) which the band also played that night. The voice over speaks: “'Cause this music can put a human being in a trance like state and deprive it for the sneaking feeling of existing. 'Cause music is bigger than words and wider than pictures. If someone said that Mogwai are the stars, I would not object. If the stars had a sound it would sound like this. The punishment for these solemn words can be hard. Can blood boil like this at the sound of a noisy tape that I've heard?”

Just when everyone thought it was over, the crowd screamed for more. They delivered a phenomenal encore performance, one that ended with a high note. Watching Mogwai live is without a doubt one of the most sublime sensory raptures an audiophile can ever experience. Listeners should take it from the masters: those who understand that your silences are as valuable as your loud sides certainly know how to make affective connections, and Mogwai does it beautifully with music.

One simply has to close his eyes, feel the bass and rhythm, and ride the vigorous build-up of the drums. It was a night for swooning in music, and we were grateful to have been there.