{"id":16396,"date":"2015-12-08T11:05:08","date_gmt":"2015-12-08T11:05:08","guid":{"rendered":"http:\/\/essentiallypop.com\/epop\/?p=16396"},"modified":"2015-12-08T11:09:32","modified_gmt":"2015-12-08T11:09:32","slug":"sleater-kinney-egyptian-room-indianapolis-live-review","status":"publish","type":"post","link":"https:\/\/essentiallypop.com\/epop\/2015\/12\/sleater-kinney-egyptian-room-indianapolis-live-review\/","title":{"rendered":"Sleater-Kinney, Egyptian Room, Indianapolis: Live Review"},"content":{"rendered":"
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Guest reviewer Rob Bohn attended\u00a0Sleater-Kinney’s show at Indianapolis’\u00a0Egyptian Room, Old National Centre, on December 4.<\/strong><\/h4>\n
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After that near-decade of silence, Sleater-Kinney is revealed on-stage, flanked by the surreal and not-so-real antiquities of the Egyptian Room. It\u2019s fitting as they actually ARE the reality in the room.\u00a0 The Egyptian Room is a concert venue in Indianapolis owned by The Ancient Arabic Order of the Nobles of the Mystic Shrine, more commonly called the Freemasons; outside is a minaret and a tiled sun-and-camel-in-the-desert scene, and inside has enough stained glass and Egyptian motifs to make you want to tell stories.<\/strong><\/div>\n
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And that\u2019s what S-K does.\u00a0 Corin tells those stories with her voice and guitar; Janet\u2019s drums push you, always emphatic, always driving the story-line; Carrie assails you with her guitar, adding that counter-point you missed in the plot.<\/u><\/u><\/div>\n
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In their song ‘Price Tag’, Carrie\u2019s guitar is the repartee to Corin\u2019s vocals \u2013 it seems innocuous enough initially, stocking the\u00a0shelves, working the store, but then \u2013 we never really checked the price tag and lured by the devil, the price is too high. S-K has been there, they are no longer the riot-grrrls but have experienced the problems of\u00a0verisimilitude<\/span>, with\u00a0the relative\u00a0truths and falsehoods of life.\u00a0 And a twinge of levity as well.<\/u><\/u><\/div>\n
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If you scan the song titles played, you get the idea \u2013 the anthemic (and atomic tourist referencing) ‘No Cities to Love’, ‘Youth Decay’ (I\u2019m curious whose sense of humour is in that title), ‘Bury Our Friends’, and ‘Far Away’ \u2013 there is a sense of experienced life, upbeat melancholia, and situational awareness.<\/u><\/u><\/div>\n
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On ‘Entertain’, Carrie prowled like a cat and sang an intriguing anti-rhythmic lyric until the chorus; Janet was the wind-swept drummer throughout, and Corin soared on guitar and vocal. But then, there was the long pause and the pose at the start of ‘Jumpers’ \u2013 backlit, standing still, shadowy backdrop flailing in a breeze \u2013 then, BANG, away it went.<\/u><\/u><\/div>\n
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Nearing the finale, Corin had an emotional moment of silence for the Colorado Springs Planned Parenthood attack, and followed it with ‘Gimme Love’, with the song knowing it is never enough, wishing for a little more, running from the wickedness this life imports. Then followed it with ‘Let\u2019s Call It Love’ \u2013 unlike what\u2019s implied by the title, it\u2019s not ambivalent but triumphant, with the lighting artist using her LED lights set to a fiery orange for the climax. \u00a0<\/u><\/u><\/div>\n
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At the end, S-K played the crowd-pleasing ‘Modern Girl’ \u2013 the fitting finish \u2013 melancholic again but also with a picture of a sunny day. And that is the modern Sleater-Kinney: triumphantly surviving and experiencing life at its best and worst, telling stories with a picture of a sunny day. Maybe even with a camel in it.<\/div>\n<\/div>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Guest reviewer Rob Bohn attended Sleater-Kinney’s show at Indianapolis’ Egyptian Room, Old National Centre, on December 4.<\/p>\n

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