There are certain bands that can get up on the stage and sit for an hour and a half, and I would still love the show. The reason for this is partially because the music they make is so necessary in my life– because I have such deep wells of respect for them that nothing can change, and partially because they always put on a good show. Cut Copy is one of those bands.
Anyone who read the review I wrote for Zonoscope knows that I fucking love Cut Copy and I especially love Zonoscope. The entrancing jungle beats and pure electronic excess filled up New York’s cavernous Terminal 5, giving me one of the most fun and fantastic shows in recent memory. If only the rest of the sold out audience felt that way.
The night started with the NYC-based Midnight Magic, who despite their best efforts couldn’t get crowd to manage much more than a bob. It’s surprising too, because the group on stage were spectacular musicians helmed by a hypnotizing chanteuse. The horns, vintage slap bass and the pure vivacity of singer Tiffany Roth bring to mind Sharon Jones and the Dap Kings, while the disco beats are reminiscent of Scissor Sisters. All in all, it was an amazing opening act, one that I am sure to see when they play a smaller venue full of people who want to see them, and them alone.
When Cut Copy finally came on through a giant door in the middle of the stage I expected the crowd to go immediately crazy. But alas, it was not so. The sold out crowd again managed only half hearted movement (save for the hardcore fans like my friend and I, and the seven or so people around us in the front row). It was so tame that leader Dan Whitford remarked, “I know it’s a weekday, but sometimes dance shows are on weekdays and that doesn’t mean you don’t have to dance.”
The only time that it felt like the crowd was letting loose was during the uber hit, “Lights and Music,” an anthemic dance song with a killer yell-a-long chorus. Cut Copy never lost their energy, however, with Whitford running around the stage and breaking out his glorious hand dancing and synth head banging and multi-instrumentalist Tim Hoey climbing on the drums, climbing on Dan Whitford and creating feedback from his guitar in a deliciously sexual way. They forced the reluctant audience to dance with breaks that would make Justice proud and unrelenting beats that reverberated through the whole room.
The highlight of the night, at least for me, was the first song of the encore, Zonoscope’s stand out track “Need You Now.” The slow build and wonderful climax of the song is made to be played in a place with flashing lights. I had been waiting to hear it played live since the album first came out, and when it finally was, I was not in the least bit disappointed. It was a gigantic end to a three day stint at T5, and I’m definitely sorry that it is over.
From The Wild Honey Pie, 4/8/2011: http://www.thewildhoneypie.com/i-fell-in-love-with-cut-copy-at-terminal-5/