The Civil Wars, O2 Academy, Glasgow | New music reviews, news & interviews
The Civil Wars, O2 Academy, Glasgow
Award-winning Nashville duo are overshadowed by tour support The Lumineers
There’s something admirable about the way that The Civil Wars have become quietly, unassumingly massive; packing mid-sized venues the length of the UK and chalking up over 100,000 copies of their debut album sold since its March release on these shores. The double Grammy-award winning, Nashville-based duo seem genuinely appreciative of a rapturous reception, and endearingly humble despite their considerable success.
If proximity be enough to transfer some of the band’s considerable good fortune, perhaps by the time their own headline tour rolls around in the new year we’ll see The Lumineers (pictured below right) greeted with the same level of devotion last night’s headliners enjoyed. Ostensibly a folk-rock trio from Denver, Colorado, on this first UK tour audiences are being treated to a beefed-up five-piece sound. Regardless, it was the three core members the audience couldn’t tear their eyes away from: Wesley Schultz on guitar and lead vocal, drummer and sometime banjo player Jeremiah Fraites and Neyla Pekarek - cellos, harmonies and a joyful smile she barely took off her face for the duration of the set. And that was before she put her instrument down and started dancing.
Schultz and Pekarek played the audience like experts, encouraging handclaps and singalongs
The Lumineers’ self-titled debut, which has been out in the US for a few months now, gets its official UK release next week and, unsurprisingly, cuts from it made up much of the set. “Submarine”, with its jaunty piano riff and bass drum like a marching band, was a joyous opener and allowed Schultz to warm up the old-time country twang that punctuated his voice.
The band skillfully switched between stripped-back performances - Fraites front and centre, looking for all the world like a young Woody Harrelson in his braces and bowler hat - and more raucous collaborative numbers. Schultz and Pekarek played the audience like experts, encouraging handclaps and singalongs and rounds of call-and-response on songs that none of us had heard of twenty minutes before (when the latter fell down a little thanks to accents muddied by the Academy’s notoriously fickle sound, nobody seemed to mind). A non-album track, “Scotland”, made an appearance thanks to the appropriateness of the occasion - it was a heavy, wild beast of a song with pounding drums and Pekarek’s cello buzzing in the ears.
It was the band’s quirkier, lyrical songs that impressed the most though: songs with lines about classy girls who don’t kiss in bars and flappers cutting their hair to the consternation of all. These, and the shout-along refrain of first single “Ho Hey” (the official video to which has already racked up 11 million hits on YouTube) undoubtedly contributed to the most appreciative reception I have heard granted to a support band in a long time. Perhaps the only people in the room who weren’t smiling were the security guards on the upper floor, openly defied by the audience on the orders of the band for a standing-room-only gorgeously sung chorus on “Stubborn Love”.
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 7,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more New music
American institution returns to the Seventies again
A powerful, genre-defying debut album from the shape-shifting ensemble
Kid-friendly festival has an audience as eclectic as the line-up
Booker T Jones' set of Sixties hits wows the crowd - but is Damon Albarn's new solo material a touch too subtle to headline?
Fink's latest is a mixed bag of the inspired and aerated
Thompson goes solo for a deft career retrospective
Belated recognition for a unique singer-songwriter
More top-drawer nostalgia from the prolific Scotsman
Rising London electronic duo don't quite match their hype
Elly Jackson has matured musically in her absence: but is that for the best?
Vivid and wide-ranging tribute to New Orleans musical traditions
An album that aches with a spiritual yearning by this singular artist