Tilly and The Ruby Suns Wall

July 31, 2008 by Amanda  Send to a Friend

all photos: FaithDesired

I love Tilly and the Wall and thought I’d arrive a bit early, around 8:30, thinking I’d be able to beat the line – I was wrong. I waited in line for a good half hour before getting in the door and finding out that my name wasn’t on the list. Luckily I was able to enlist the help of that cute blond kid that works at the Cat to get me in (Thank You!) to review the show. Because it sold out, there was already quite a crowd up front and not one worth pushing through, I hung out in the back for awhile before sitting at the long bar and watching the majority of the show through the conveniently located mirrors behind the bar. It was a better view than I thought it would be. I didn’t have anyone blocking my view, and when I wanted to dance I could stand up and I had plenty of room.

This line-up was all about the girls and percussion.

Exit Clov was first up. It’s been awhile since I’ve seen the girls (and boys, too); I’d forgotten how wonderful they are. They’re like our own, local Eisley, but with more complicated melodies, more harmonious harmonies, faster rhythms that don’t drown-out the flighty lyrics. They know how to write danceable pop without sounding like bubblegum – if only the crowd would dance.

Next up – Ruby Suns.

This twee-pop duo is making noise; all kinds of noise. They are constantly moving on stage, changing instruments – most of which they share, tweaking a guitar rift here, carrying a melody on a keyboard there and banging on their drums. Their music is an overload of sounds. It can become difficult at times to figure out where the sounds are coming from, what’s producing them, who. They sound like a condensed, but equally grand, Sufjan Stevens.

They hardly acknowledged the crowd, and when they did it was sarcastic. At first I’m annoyed with this, and then I realize that they’re dealing with a crowd that is just waiting for Tilly. What a shame, the Suns are excited about their music, but the crowd just isn’t having it (at least from my limited view of the crowd). Mid-set they do a drum duet. It is beautiful, though I am biased; I have a complete fascination for the drums because they were the only instrument I wasn’t allowed to play growing up. It’s after this point that the crowd starts to move, if only slightly. It could be that they are actually enjoying the Ruby Suns, or that they are restless and just want to hear Tilly and the Wall.

Between the Suns and Tilly the PA system is playing some sort of rap. But stranger still is that there are more people dancing to this than there were to Exit Clov or the Ruby Suns.

And then balloons appear and we know that Tilly and the Wall are about to take stage. And I’m totally ripped after too many cups of cranberry juice.

They brought their own lights, neon colors all around. The stage goes from pitch to a neon green and drums start, and then clapping, and then chanting “DC, let’s fuck it up.” And then explosions of confetti. They know fun. They know energy. They are comfortable and ready to have a party. One would think that the crowd would have joined in the fun, but instead the reverted to their stand-still stance.

These girls are altos. Decent ones are hard to find. And as they run over the peaks and valleys, occasionally pausing on plateaus, they’ve brought the party to you. As each song ended the lights went out and a new color popped up with a new song. Their lively performance eventually woke up the crowd, but it was only after a hearty “DC, who’s ready to dance!? Get ready to break it down!” that the crowd started to move. Finally!

Their tap dancer/percussionist, Jamie Pressnell, what they’re known for most, was the only girl on stage not decked out in fluorescent colors, but she didn’t need them. Neely Jenkins and Kianna Alarid joined in with choreographed moves, something that, in addition to their clothes that hasn’t graced stages since the’60’s. They have flair, so independent of all other musical groups at the moment that will surely take them on a fast and furious trip to the very top.

They closed their set with a robust ‘Let Us be Free’ –predictably interjecting political undertones, but no less beautiful.

For their encore they came out and noted a girl’s tattoo. “We’re going to play this song for the girl right here she’s got the words on her body,” and broke into ‘Fell down the Stairs.’ And for their finale the song anyone can’t help but relate to, sing along with, smile to, dance to – ‘Nights of the Living Dead.’

On my way home a friend who was also at the show texted me:

“What did you think of the show?”

“Beautiful.”

“I concur.”

And I drove home with a stupid smile still lingering on my face.

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