Friday, Sept. 23
The Canopy Club
Cut Copy
Cut Copy @ Pygmalion 2011; photo by Sean O'Connor
I don’t know if it was the music, the excitement or the adorably nerdy dance moves, but I’m in love.
Anticipation for the Australian electro group grew and the crowd tensed as people bullied their way up stage-side during the 45-minute lull between acts. Eventually the lights glowed and a very signature sound teased us from the speakers. Cut Copy emerged unobtrusively onto the stage clad in indie-chic office wear (uniform collared shirts, plain trousers, and individually stylish shoes). The drummer threw up a peace sign, the cat-calls continued, the members took their spots. With a one-two-three of the drumsticks, a light flashed and the show erupted.
Cut Copy opened with the popular “Take Me Over” from their newest album Zonoscope. Although exciting, the vocals struck out a little off in the beginning. Luckily, the slight echo problems seemed to be resolved by the end of the song, not hindering the rest of the performance. In fact, not only was the rest of the performance unhindered, but it got progressively better.
The show seemed to be consciously constructed to intensify as it progressed. The lighting started out with muted sepia-golds and demure olives for “Take me Over” and evolved into vivid yellows, violets, and bright hot magentas to “Lights and Music.” By mid-set, the audience was riled up in full—hands in the air, feet off the ground, and earnest voices commanding Cut Copy’s lyrics.
Intensifying too, were front man Dan Whitford’s god-like dance moves. While earlier in the night his hands were full of control and rigidity, the singer got swept up in the music as much as the crazed front row fans: foot stomping like no other, hair flying out of place, and even a couple of serious fist pumps thrown in. The energy was infectious.
Of course, some of the neat production that is characteristic of electronic music is lost live, but unlike some of their genre-peers, Cut Copy was able to maintain a sound genuine to their recorded tracks in their live show. —Alex Gunko, buzz Music Writer
Cut Copy @ Pygmalion 2011; photo by Sean O'Connor
Channing-Murray
Ivan & Alyosha
Ivan & Alyosha, a folk-pop group from Seattle, opened their set at the Channing-Murray with “I Was Born to Love Her.” As the title hints, the song was about love, and the couple songs following that one also were. Tim Wilson, lead vocalist, in realization said, “I just realized the first three songs of the set tonight are about love,” not that the crowd had a problem with this. Besides, some of the girls in the audience even seemed smitten by the band’s obvious charm.
I, like a good portion of the crowd, started off watching the performance from the side, comfortably leaning against the wall. Soon enough, I realized that these guys were on to something. Within five minutes of their set, they had the whole place cheerfully clapping along. The interaction between the band and the crowd was great, as was the interaction between the band members themselves. Ivan & Alyosha knew what they were doing. The guys moved around a lot, really taking control of the space they had. A couple of the band members had long hair which they put to great use when “rockin’ out,” which they did a few times. Overall, the set was fun to watch; it was nice, in the good, simple way that things are nice and you just appreciate them for being what they are. The band’s smiles radiated throughout the room, since they looked genuinely delighted to be playing, the audience was happy to be listening. I guess smiling really is contagious. —Maggie Labno, buzz Music Writer
Grandkids
Grandkids @ Pygmalion 2011; photo by Sean O'Connor
Nothing could suit Grandkid’s Friday night set better than hard wood floors, a little stained glass and a full room. Channing-Murray Foundation was perfect. Grandkid’s set was thorough, enthused and youthful. They played for about a half an hour, covering most songs from their two EPs Grandkids and Sister Walls. Opting for a darker set, they avoided such songs as “Gnats.” While fans might have missed that catchy staple, the set did benefit from its steady vibe and mature mood. Filling the room with Adam Gorcowski’s beautiful cello and Vivian McConnell’s soothing voice, Phil Sudderberg on drums and Evan Metz on guitar combined to a wholly inspirational set. As one of the youngest bands at the festival, they certainly held their ground.
While most of the set retained a darker, moody feel, things did pick up for “Ethylene,” where the chorus climaxes into some of McConnells strongest lines, singing, “I will rise and I will spoil/and when I do, you can’t use me anymore.” They ended their slot with a new song, just a week old. One of their best songs of the set, it shows Grandkids have some great things up their sleeves. —Carrie McMenamin, buzz Asst. Music Editor
Grandkids @ Pygmalion 2011; photo by Sean O'Connor
The Luyas
The Luyas @ Pygmalion 2011; photo by Sean O'Connor
Playing before an anxious Dodos crowd in a room at full capacity, The Luyas took the stage to a mostly unfamiliar crowd. Hailing from Montreal, The Luyas project a somewhat experimental sound, unique with its French horn (among other unusual pieces) and ethereal vocals. After their first song, which was also one of their strongest, lead Jessie Stein told the crowd “I think this might be the best show of our tour!” While their rhythm and mood was perfectly eerie and captivating, especially for the church room it was in, the vocals were very much an acquired taste. For some, her voice sang a sweet, earthy and childlike melody. For others, it could also sound weak and attention seeking, too light and wandering. Overall though, their set was fun to see and feel, its atmospheric tone drenching the room and their unique instruments intriguing to watch. —CM
The Luyas @ Pygmalion 2011; photo by Sean O'Connor
The Dodos
The Dodos @ Pygmalion 2011; photo by Sean O'Connor
Hours before their set, Meric Long of the Dodos could be seen hanging out with the crowd. Later on, during the Luyas’ set, Long made his first appearance on stage when he joined his friends and played the trumpet. He got off after giving the eager crowd a little taste of what was coming. By the time the Dodos finally got on, the crowd was beyond ready. Logan Kroeber got on wearing funky glasses, which he immediately threw into the crowd. The Dodos opened their set with a few older songs, and then played “Black Night” off of their latest album, No Color.
After a sweaty one-hour set and a “Thank you for sharing your Chipotle with us,” from Long, the Dodos got off stage but the crowd didn’t budge. When Long and Kroeber got back on stage to collect equipment, they knew they weren’t going to be let go until they played some more, which is just what they did. The fans got Long to play “Undeclared,” a song he evidently had not played in a long time. Even though he couldn’t perfectly remember all the words, the crowd cheered him on and sang along until the end. But the Dodos weren’t done. They kept playing until 2:00 am, with Long’s guitar solo leaving the crowd in a trance, then Kroeber playing the drums with his eyes closed. Staying up with the Dodos was definitely a highlight of this year’s Pygmalion. —ML
The Dodos @ Pygmalion 2011; photo by Sean O'Connor
buzz Magazine: Music 
Posted on September 26, 2011
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