Beirut Returns to Austin [Show Review]

The release of Beirut's fourth LP The Rip Tide has unveiled a new touring trend for the Brooklyn quintet. After a nearly four year absence, Saturday's show at Stubb's was their second stop in Austin this year (earlier this summer they played at ACL Live). As snow fell in the band’s northeast hometown, Beirut performed a special show under clear skies at Stubb’s.

While fans may have hesitated over the staggering ticket price or opted out for Halloween party plans, those who attended (some costumed in wigs, fuzzy jumpsuits, drag, etc.) enjoyed a relaxed performance led by Beirut's baby-faced mastermind, Zach Condon. Under a veil of twinkling lights, they kicked the night off with "Concubine" followed by the boisterous ukulele driven single "Elephant Gun," and slowed things down for "Vagabond" which delved into some jammy, rhythmic breakdowns showcasing bass player Paul Collins' chops. As the night progressed with the sweet and sentimental fan-favorite "Postcards From Italy," the boys featured their well known Balkan-esque big horn medleys fused with with oompah accordion, steady percussion and bass.

While the set list for the show was similar to the one at ACL Live - spanning a sampling of their discography with well orchestrated precision - the performance showcased a more familiar execution. The band was playful, but never sloppy, with a crisp vocal/lyrical delivery and more of an emphasis on the rhythm section than on any previous recording that came across more rocking at times than their Balkan safety-zone. The combined talent of the ensemble allows them versatility. Their encore reflected their spectrum of talent with a solo performance of "Penalty" with Condon on ukulele followed by a carnival-eque production of "My Night With The Prostitute From Marseille" and a Latin-fused Bossa Nova jam with wailing brass solos which closed the night. They continue to explore and have fun, and it's contagious.

Beirut: [official]