The Decemberists – London HMV Forum/Coronet Theatre

November 18/19, 2009

It must be an interesting part of intra-band planning when the time comes for deciding how to convert new material into a format suitable for the stage. I can only imagine, however, that the task gets significantly more difficult when the new material in question is a 60-minute, 17 track prog-folk crossover which, as a whole entity, aims to tell the tale of two fated lovers and the obstacles preventing their union.

The Decemberists are so keen on protecting their narrative that, on their recent 63-date mammoth tour, they performed the album in its entirety. Characterisations are affected among the performers to such an extent that the Hazards Of Love performance blurs the distinction between a gig and musical theatre, and ends up not being entirely either. Admittedly, it’s an unusual way of watching music and it can, at first, seem unsettling. For example, in order to maintain the integrity of the tale itself (a reason missed by some, choosing to believe that Colin Meloy is just an anti-social oik instead), there is no crowd interaction from the band for the first hour of the night.

They enter to the sound of Jenny Conlee playing ‘Prelude’, and from there the album is played, without pause or hesitation, until the climax of ‘The Hazards Of Love 4 (The Drowned)’, whereupon they briefly interact to assure the crowd that they will return with more songs after the interval. I feel it is pertinent here, whilst discussing the running of the show, to give full credit to the wonderful backstage team operating at the events. The mellifluous requirements of the show leave no time for de rigueur between-song tunings and instrument exchanges, but the stage hands maintain a high level of dynamism allowing the scope of the production to be realised.

The music itself is performed to a standard that you would expect to be present from a band performing the same material every night, and the musical cohesion on stage shows a band comfortable playing with each other and their material, truly how a band should be. A minor objection to playing an album in full, as opposed to conventional structures, is that it requires the weaker tracks on the album to play a part rather, than rely on the stronger material. However any disappointment stemming from the odd weaker track is quickly extinguished when the band hit another high point of the set (for example, the magnificently evil version of ‘The Rake’s Song’, complete with five drummers).

The second night of the two, at the Coronet Theatre, is where the live version of the album really takes off. If certain points of the HMV Forum show seem less than entirely enthusiastic, there’s no trace of this on the second night. The band display so much more energy, something especially noticeable in the up-tempo tracks, confirming the album’s status as one of the best of 2009.

The second half of the show is where we’re reacquainted with The Decemberists of old. It appears the intention of Meloy to make up for the loss of crowd interaction in the first half by ebulliently seizing every opportunity to tell anecdotes and establish a rapport with the crowd, and with this he manages to come across as, simply, the most charming frontman any band could desire. The setlists themselves contain a lot of odd (but not unwelcome) choices from the bands back catalogue. Veritable fan favourites such as ‘Billy Liar’ and ‘The Engine Driver’ are mixed with ‘Shiny’ (from the bands first E.P., 5 Songs, back in 2001) and ‘Dracula’s Daughter’ (the “worst song I’ve ever written”- C. Meloy), and there’s even the opportunity for a short sample of new material in the encore of the first night.

The band manage to find the right balance between the rarer songs and the crowd favourites, and there are plenty of opportunities for crowd sing-alongs (particularly on the second night, prompting rumours regarding the possible intoxication of certain band members) and involvement during refrains and encores.

The shows are a testament to both the material played, and the versatility of the band to perform at both ends of the spectrum; from faux-operatic quasi-theatre to crowd-involving numbers in the second acts of the nights. Meloy is that distinguished, talented showman, and the group are simply meant for the stage.