The Wake

The best part of October 2nd’s Deerhoof concert at the Walker Art Center (held in the McGuire Theater) was the audience’s first reaction to Deerhoof’s opening song: laughter. Singer Satomi Matsuzaki came out bowing, bass in hand, while John Dieterich laid down screeching guitar brickwork for the band’s opening song. Drummer Greg Saunier propelled the song into one of its many stop and go sections, while Matsuzaki led into a chorus of “Beep Beep Beeps.” That was the punch line, and it was hilarious.

Throughout the show Deerhoof turned their audience on its ear with guitar dissonance and drum syncopation. Instead of making the music less coherent, they were able to play through all of their set as if it was an hour long medley. Deerhoof was one of the tightest (in a musical sense) bands I have ever seen. At times between Matsuzaki’s jumping jacks and Dieterich’s feedback screams (he actually bent down and vocally screamed at his amp, as if to say, “Come on bitch, bring it”), Saunier would conduct the band with a drumstick. The band came out for one encore including old Deerhoof favorites: “Our Angel’s Ululu” and “Milking”.

When the show was over I found myself doubting that McGuire Theater could properly serve as a rock concert venue. The plush seats, intimate stage setting, and mood lighting suited the Moss Piglets, (introduced as “regressive, hillbilly, alternative music,”) much better than Deerhoof. Bluegrass can be taken sitting down, but a Deerhoof show needs beer and standing room for a small moshpit.