Other Lives

To be surprised after an Other Lives concert being sold out and by the cheering crowd forcing the band to reappear twice on stage tells a lot about the peripheral state of mind that affects someone living in what is rapidly becoming a peripheral place. Jesse Tabish's band is not coming to Italy in this second European leg of the fortunate "Tamer Animals", following the support tour for godfathers Radiohead in the US. Just to content other audiences? I fear it's not as simple as that.

Anyway, Le Romandie, with its evocative location – it's actually built under an archway of an old bridge in the middle of Lausanne – shows what a relatively small place in a small and peripheral town can do, with a good, attractive and consistent programming. Thanks to this Other Lives – which can still be no longer considered an outsider band – have sold out, not only because of their rising fame.

On the third time I watch Stillwater's group operate on stage, I cannot say I find again the genuine surprise of watching five people striving amongst even four instruments per song, building up progressively the western epic that permeates their set – not a sheer show of technique nonetheless (which they don't always possess, honestly). But, even from an emotional distance, I can appreciate how their energy is still intact; greater, if possible. The choice of playing mostly "Tamer Animals" songs, except for a sparse and intimate (and hurried, to say it all) "Black Tables" and the usual "The Partisan" cover, augments dramatically the conceptual framework surrounding the album.

Images of spatially and temporally remote but somehow familiar rural life superimpose with the existential drive of the band, that sometimes manages to overcome some repetitions and the sense of intellectual effort that gravitates on the record.

That said, the crowd responds mightily to the band's set, in a growing surge that surpasses the worrisome new songs and finally finds its apex in the masterpiece of "Tamer Animals", its title track, with its brute tidal force. Everything is ready for what seems to be the last handclapping party, with the most rootsy part of the concert, Cohen's cover "The Partisan". But the roar of the people again surprises me and tells me that the involvement I often feel with Other Lives music is shared. And it's a comforting thought, lingering on our heads while the band comes on stage again, for the second time, playing "Gates Of Eden" by Bob Dylan.

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Being surprised by an Other Lives show that sells out, and by the cheering crowd calling the band back on stage for a second encore, says a lot about the "peripheral" mindset that afflicts anyone living somewhere that is rapidly becoming, precisely, peripheral. Jesse Tabish's band won't be coming to Italy for the second leg of the successful "Tamer Animals" tour, as they follow their patrons Radiohead on their support tour across America. Just to please new audiences? I fear the matter isn't quite so simple.

In any case, Le Romandie, with its evocative location – it's actually built under one of the archways of an old bridge in the middle of Lausanne – shows what a relatively small venue in a small, peripheral city can achieve with an appealing and consistent lineup of shows. Thanks to this, Other Lives – who can no longer really be considered outsiders anyway – sold out the venue, and not just because of their growing fame.

On this, the third time I've watched Stillwater's band operate on stage, I can't say I still feel the genuine surprise of watching five people wrestling with as many as four instruments per song, gradually building up the western-tinged epic quality that permeates their set – without it ever becoming a mere display of technique (which, honestly, they don't always possess). But even from an emotional distance, I can appreciate how their energy remains intact; if anything, even greater. The choice to play mostly songs from "Tamer Animals", aside from a stripped-back, intimate (and, let's be honest, rushed) "Black Tables" and the usual "The Partisan" cover, hugely amplifies the conceptual framework surrounding the album.

Images of rural life, remote yet somehow familiar, overlap with the band's existential drive, which at times manages to overcome certain repetitions and the sense of intellectual effort that hangs over the record.

That said, the crowd responds powerfully to the band's performance, in a swelling wave that sweeps past the worrying new tracks and finally reaches its peak with the masterpiece that is "Tamer Animals", the title track, with its brutal swells. Everything is set for what seems to be one last clap-along celebration, in the most roots-oriented part of the show, the Cohen cover of "The Partisan". But the crowd's roar still surprises me and makes me recognize the sense of involvement I often feel with Other Lives' music. And it's a comforting thought, hanging over our heads as the band comes back on stage once more, to play Bob Dylan's "Gates Of Eden".

Photo contributions by Muriel Tille (Le Romandie)

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