WERS 88.9 fm - performance wrap-up: wolf parade

By Cady Drell
7.18.10

Wolf Parade played their first Boston show in over two years at the House of Blues this week. Impressing the audience from the moment they took the stage, their incredible performance made those in attendance question why the Canadian foursome has stayed away so long.

The show's opener, Moools, was a loud three-piece from Tokyo who played crazed rock which was not entirely unlike Wolf Parade's frenzied faire—but in Japanese. Moools's sound was sort of experimental grunge, and though they were energetic (at one point the lead singer began comically screaming at the guitarist in Japanese) and technically skilled musicians, their a-tonality and shouting were not as endearing after about four tracks. Halfway through, the set became more jarring than musical.

Wolf Parade on the other hand, though late coming onstage, more than made up for it. Their set had a very fast-paced, high energy level, as they played tracks from their large music catalogue (though with a definite favoritism for 2005's Apologies to the Queen Mary, long-hailed as their most ingenious album of the three full-lengths they've released). Early in their set they played tracks like "Ghost Pressure" and "Palm Road," off of Expo 86, which was released last month. However, they seamlessly slipped in "Language City" from 2008's At Mount Zoomer and "Shine a Light" from Apologies.

Frontman duties were shared between crazy-voiced keyboardist Spencer Krug and slightly-less-insane guitarist Dan Boeckner. Krug was singing and playing so violently that it looked like he might pass out onto his keyboard, while at several points Boeckner looked like he was getting electrocuted by his guitar (think Almost Famous). Their antics were hyper, but not so over-the-top as to take away from the set. Although they were clearly excited, Wolf Parade was completely on point; and songs like "Fancy Claps" and "Dear Sons and Daughters of Hungry Ghosts" (both off Apologies) were played with skill and enthusiasm. The crowded House of Blues danced and pushed toward the stage during "I'll Believe in Anything"—the energy in the room became so great that drummer Arlen Thompson broke a stick which went flying inches past his face (note: he still didn't skip a beat). Meanwhile, guitarist Dante DeCarlo played very quickly but stayed completely stoic and sweat-free, juxtaposing his bandmates who flailed around like they were receiving musical exorcisms.

Most charmingly, both Krug and Boeckner seemed astonished at the crowd's enthusiasm. "You guys are so sweet, thank you," said Krug after a particularly rollicking rendition of "Two Men in New Tuxedos" (from Expo 86), a sentiment that Boeckner echoed several times. The encore was three tracks, beginning with "You Are a Runner and I Am My Father's Son" (also from Apologies). Playing for about 90 minutes total, Wolf Parade's set was marked by thumping synthesizers, infectious hooks, and an epic theatricality that, although hinted at in recordings, can only be fully realized in a live setting. Since they are known for their elusive touring schedule, Wolf Parade should not be missed on this go-round.