image courtesy MusicSnobbery.com
The boys from Bristol — Massive Attack — returned to NYC for the first time in nine years this week, playing three not-so-sold-out shows at the Roseland.
I was pretty stoked to see these guys live, having cut my trip-hop teeth on their early albums Protection and Mezzanine. And I was especially interested to see how well their more down-tempo, studio-centric sound would translate to the live stage.
Notsomuch.
Backed-up by a massive LED light installation and floor-mounted Jenny Holzer-esque scrolling message boards, Massive Attack’s live setup consisted of two flanking drumsets, a central synth/soundboard and a bass and rhythm guitarist, personnel unknown (not sure it really matters, though). Front and center, vocalists Robert Del Naja (aka 3D) and Grant Marshall (aka Daddy G) took turns lining up on the mic, but never doing much in the way of audience interaction or crowd control. Stand and deliver, basically.
Unfortunately, the vocal talents of Tricky and Tracey Thorn (Everything But the Girl) weren’t available for this tour, limiting the overall vocal range of the show (always one of Massive Attack’s strongest suits) and forcing them to cut many of their most popular songs (Protection, Eurochild, etc.) from their setlist.
Bust.
So — all in all — a decent show and a nice stamp to have in your concert attendance passport of life. But the best parts about Massive Attack’s sound just never translated live up on stage. Plus, the venue sound (as always) sucked.
While I’m sure the hardcore fanboys got all hype re-living their early-90s musical glory days, the $50+ ticket price was a little much for me.
Massive Attack (official site)
2 Comments
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I guess it depends on what era of Massive Attack-ness you prefer, but I thought it was a great show (although I went Wednesday, not Tuesday). I wouldn’t call Horace Andy, Elizabeth Fraser and Deborah Miller a limited vocal range, either. Daddy G did a pretty good job filling in for Tricky on “Karmacoma” as well.
Nice looking blog; keep up the good work.
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i thought it translated very well to stage. the songs a primarily low-ley with a brooding power beneath it all, and thats literally what the show was.