Last night, Arcade Fire took LA’s Forum arena by storm. With supporting acts The Unicorns and Dan Deacon, the night promised an epic party.
The Unicorns’ appearance on this tour is a highly anticipated return to the stage. This is the band’s first performance in eighteen years. Relying heavily on their unique balance of electronic lo-fi breakdowns, they managed to revive their unique sound that influenced artists of their subsequent generation, including the likes of Hellogoodbye. The Unicorns are best known for making fun, danceable music with the cheapest instruments imaginable. Their catchy beats and silly lyrics keep the introduction to the night at a lighthearted tone. By the end of their set, the seats are still only half-full, but the anticipation of the main event draws the crowd from outside into their seats.
By the time Dan Deacon hits the platform at the back of the floor level, the pit is full of bodies. He politely introduces himself and calls people to move away from the front of the space. He gets some curious laughs when he mentions that the sound is messy and there might be feedback issues, but he implores onlookers to simply imagine that they are listening to music in their friend’s basement so they will feel right at home. He kicks it into high gear with a drawn out version of “Of the Mountains,” accompanied by a crude light show as the mini spots flash in different directions and blind the crowd surrounding the levels above the pit. His trancy mixes would be the perfect accompaniment to the classic Windows ’95 screen savers. Though his lyrics are completely inaudible, his bouncy energy enthusiastically engages the people below him. Deacon then asks the pit to create a giant open circle in the middle of the room. Everyone obliges and participates in the dance party debauchery that he initiates. Surprisingly, what the music lacks in live sound quality, it makes up for with inviting beats that are so charismatic they almost force everyone to dance. Finally, he asks the crowd for one more favor – waging a high five war. As the music starts, he tells the people to run from opposing sides and continually high five each new person they encounter. They keep the madness going. Without fail, the crowd eagerly mingles and people greet each other with smiley high fives for the rest of the set.
The party keeps cranking on when Arcade Fire quickly follows after Dan Deacon’s raucous closes. They take the stage and play out a blend of the Blade Runner theme from behind a large black curtain. The immediate response is utter excitement. The audience jumps to its feet when the drape falls and they break into “Reflektor.”
Arcade Fire is basically an army of people on stage. Boasting a total of twelve eclectic musicians for a live set, their performance is a bonafide crowd pleaser. There is certainly a little something for everyone to enjoy. From the light shows to the bright colors and hired crews of dancers, the night continuously brings more and more fun to the table. Right away, they burst with energy across the space as they jump, sing and stream long spools of rainbow confetti from the sides of the stage. It feels like house party of the year with all the commotion, especially as they play hit after hit. People joyously sing and dance along.
Aside from the obvious audible pleasure provided, Arcade Fire’s selection of visual additions creates a colorful experience, to say the least. It all starts with the large kaleidoscopic mirror pieces lining the back of the stage which begin moving about the background during “Ready to Start.” It gets even better when they surprise onlookers with a gay dance troop dancing on a riser at the back of the pit (Stage B) during “We Exist.” These five men are not only wearing high heels and short shorts, but also dance what can only be described as a new Macarena while suspended 10+ feet in the air. They take the visual appeal to a new level when they bring out an interpretive dancer decked in a suit covered entirely with reflective mirror pieces. He basically turns into a giant disco ball when the spotlights hit him on Stage B, and the glowing light reflecting across the room is magical.
After the band leaves the stage, a small faux band takes to the back riser. The five are wearing enormous fake heads and call themselves a new band called The Reflektors. They pretend to play their instruments as the first half of Guns n Roses’ “Sweet Child O’ Mine” plays. Their attempt to play off the song as their own is a welcome comedic break. Arcade Fire quickly returns to the main stage to break up the mockery. Singer Win Butler calls them a lame attempt and revs the real band up for a quirky encore. They first try their own crack at the intro to “Sweet Child O’ Mine,” but then change the pace to mash into “Normal Person.” Arcade Fire successfully squeezes in one last teaser by playing the first half of Jane’s Addiction’s “Been Caught Steeling,” and wrap up the night with “Here Comes the Night Time” and a roaring rendition of “Wake Up.” Indeed, the Canadian indie rockers draw quite the eclectic crowd of costumed and painted characters, but not to be outdone, they bring their own wild crew to make a party that is worth catching.
Set lists
The Unicorns
Emasculate the Masculine
Tuff Ghost
Sea Ghost
Innoculate the Innocuous
The Clap
The Unicorns: 2014
Child Star
Les Os
I Was Born (A Unicorn)
Jellybones
Ready to Die
Dan Deacon
Of the Mountains
Guilford Avenue Bridge
The Crystal Cat
True Thrush
Arcade Fire
Blade Runner Theme
Rara
Reflektor
Flashbulb Eyes
Neighborhood #3 (Power Out)
Rebellion (Lies)
Joan of Arc
Suburban War
The Suburbs
The Suburbs (Continued)
Ready to Start
Neighborhood #1 (Tunnels)
We Exist
No Cars Go
Haïti
Afterlife
It’s Never Over (Oh Orpheus)
Sprawl II (Mountains Beyond Mountains)
Encore
Sweet Child O’ Mine intro (Guns n Roses cover)
Normal Person
Been Caught Steeling intro (Jane’s Addiction cover)
Here Comes the Night Time
Wake Up
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