Andrew Bird Lights Up the State Theatre

Andrew BirdTo one looking at the stage before any performers came out, it would be difficult to believe this was a solo show. The set up included four large horns, a guitar, a violin, a glockenspiel, various amps, and a tangle of pedals at the base of two microphones at the front of the stage. But there are many things difficult to believe about Andrew Bird.

Andrew Bird performed to a nearly full house last Saturday, October 3^rd, 2008, at the State Theatre in Ithaca, NY. The multi-instrumentalist from Chicago has built a reputation for himself by layering pizzicato and bowed violin under guitar, glockenspiel, whistling, and vocal passages. Despite playing without a backup band, he still managed to produce a lush, orchestral sound similar to his studio recordings.

He started the set with an instrumental passage that blossomed into “Sovay” from his 2005 album The Mysterious Production of Eggs. Bird performs in a quiet, unassuming way that simultaneously conveys confidence and agitation. Twitching his head through most songs, he comes across as both nervous and unselfconscious, and appears completely at ease as he kicks off his shoes early in the set. The set list spanned nearly every album in his discography, from The Swimming Hour (2001) to A Noble Beast, set to be released in January 2009.

Bird showcased a substantial range of talent throughout the night. The same violin that injected energy into “A Nervous Tic Motion of the Head to the Left” and “Imitosis” provided the tranquil background to “Lull.” He created an ethereal sound in “Lull” as well as other songs by whistling along with the glockenspiel. His voice carried tremendous emotion at the end of “Sovay,” but comes across as playful, even toying with the audience on the next song, “Why?” Though it is easy to lose track of in the midst of Bird’s instrumental expetise, his voice is excellent and is only enhanced by the acoustics of the theatre.

The concert was not without minor flaws. Though he came off as charming in personality, his banter seemed forced at points. When performing an unidentified song off of the new album (“for the first time alone, against my better judgment” he claimed), the loops came out messy and jumbled, and even he conceded that perhaps he should have held off. However, these flaws barely detracted from what was otherwise an excellent show.

Bird writes for the blog “Measure for Measure,” published by the New York Times. In a recent post, he states that “Writing songs and performing live have with time become almost the same process for me. The improvisation and conversation with the audience from show to show keep the songs fluid and alive.” This philosophy was clear in the Saturday show.

Fans would find his songs recognizable, for sure, but he was far from playing the songs exactly as they appeared in studio recordings. Bird plays his songs extremely fluidly, building and pausing whenever he pleases, occasionally shuffling the order of introductions and breaks to create an original experience on every song. This originality makes Andrew Bird shows a must for fans that can’t get enough of his music, as well as anyone interested in an unusual and memorable experience.