What better way to complement a brisk spring evening in Memphis than with Maryland’s hazy newcomers, Beach House, and London’s true masters, The Clientele. At times the scenesters just wouldn’t shut the fuck up, but when Beach House’s Victoria Legrand flaunted her soothing voice and lush organ play and The Clientele’s Alasdair MacLean his pristine voice and always stellar guitar work, a hush permeated the usually raucous Hi-Tone. The Clientele, despite almost eight years of tireless and continuously amazing work, remain unjustifiably obscure among American audiences, though they would change any misperceptions, any doubts with a flawless, almost effortless performance - one marked by a love of music and persistent desire to experiment.
Playing to a packed house, the aforementioned Legrand and Beach House guitarist Alex Scally took the stage, armed with Legrand’s electric organ, Scally’s electric guitar, and a suitcase of pre-recorded sounds of sleigh bells, maracas, and tambourine, complementing their lush, reverb-toned dream pop. Beginning their set with “Apple Orchard,” Legrand and Scally sat close, their instruments and suitcase near, taking up only a fraction of the modest stage. They are a tight-knit duo, but their sound and breadth encompassed the entire room, hushing the eager banter and inebriated voices of the bar patrons. Playing just six songs, the duo showcased tracks from their excellent 2006 self-titled debut album. Near- flawless performances of “Tokyo Witch” and “Auburn and Ivory” stunned the unsuspecting crowd, turning passive guests into active listeners. Beach House saved the best for last, closing with their finest song, “Master of None.” Legrand played effortlessly on her organ, as she complemented Scally’s dreamy, reverb guitar with her melodic voice that echoed as she subtlely sang, “Jack of all trades/Master of none.” It was a very memorable (albeit brief) performance that clearly represented Beach House’s enormous talent and grand ambition.
The Clientele took the stage shortly after violinist/keyboardist/xylophonist/vocalist Mel Draisey set up the band’s modest instrument kit with a white wine glass sitting atop the bass amp - a classic and picturesque Clientele moment, as the dignified Londoners would show the Memphians the finer points of etiquette and musical talent. They opened with superb Strange Geometry track, “Since K Got Over Me,” as MacLean’s gentle, comforting voice seized the distracted patrons. Then the Brits launched into a series of fine tracks off new album God Save The Clientele, most notably “Here Comes the Phantom” and the Felt-tinged “I Hope I Know You.” Much of the eleven song set consisted of songs from the aforementioned Strange Geometry, including my personal favorite “I Can’t Seem To Make You Mine,” and God Save The Clientele, which supplied the two finest performances of the night, “Bookshop Cassanova” (despite a botched guitar solo courtesy of Alasdair) and “Somebody Changed.”
‘Twas classic Clientele moment when Alasdair (in jest) declared, “here’s another faggy English tune,” before launching into their wonderfully delicious new song, “Isn’t Strange.” Memphis may be a rock ‘n’ roll city, but The Clientele were un-phased, exemplifying (as always) their flawless and astonishing music styles - part 60’s baroque/part 80’s hazy, autumnal pop. The Clientele’s breezy attitude complemented the weather, as the lads sipped white wine during song breaks, rolling their eyes at the impolite arses who wouldn‘t shut up. They are eccentric; they are fascinating; but most of all they are priceless.
--Wes Barker
