The Weather Station live from Toronto
A year to the day since I was last able to see musicians performing in person, the Weather Station’s livestreamed concert from Toronto on Thursday provided a reminder of what’s been missing. Tamara Lindeman and her musicians were performing the 10 songs from her new album, Ignorance, shuffled in order but retaining the enigmatic allure that I wrote about in the March issue of Uncut.
I won’t repeat what I said in that review, except to note that the arrival of Marcus Paquin as Lindeman’s co-producer has brought a new perspective to her songs, which are now driven less — not at all, in fact — by strummed or finger-picked acoustic guitars and more by drums and bass, and decorated by subtle use of keyboards, electronics and wind instruments (and, on the album, a string trio). The new songs confront loss, both intimate and global: the departure of a lover, the disappearance of a species. These concerns, with their very different time-scales, are like messages lightly inscribed on two transparent sheets. They slide over each other, clarifying or converging, a pair of palimpsests coming in and out of focus over the band’s momentum.
It was a treat to be able to watch her and the band tackling this fascinating material. The live performance — in Toronto’s Revolution Recording Studios — turned out to emphasise the similarities rather than the differences between the songs, making the whole thing feel satisfyingly coherent. I was particularly struck by the restless swells of “Loss”, Christine Bourgie’s fine guitar solo on “Subdivisions”, the spellbound poise of “Trust”, the galloping rhythm of “Heart”, and the closing free-ish jam between Brodie West’s alto saxophone and Lindeman’s piano on “Robber”, where Ben Whiteley’s bass guitar and Kieran Adams’s drums conjured something like an alt-rock version of one of Norman Whitfield’s Temptations epics. (Here’s the album version of “Robbery”, in case you haven’t heard it.) The other musicians were Johnny Spence (piano), Will Kidman (guitar, keyboards), Ryan Driver (flute), Philippe Melanson and Evan Cartwright (percussion) and Felicity Williams, whose voice shadowed Lindman’s to particularly good effect on “Heart”.
Perfect sound (by Brenndan McGuire) and a restrained approach to lighting (Louise Simpson) and camerawork (Lulu Wei) ensured that the qualities which make the Weather Station so special were allowed to speak. In a little prologue, a just-recognisable Lindeman lay on a pebble beach under a sheet, reading a book, while a dancer wheeled and turned in the distance. We were taken back to that setting at half-time, just where you’d be turning over a vinyl album, and again at the very end, for Lindeman to read short verses by the American poet Ed Roberson. Nicely done, but the real pleasure was in witnessing her own poetry brought to life by musicians, with masks but no headphones or baffles, playing together in real time, so beautifully.
Tamara Lindeman is a wonderful writer and performer, isn’t she? I have been fortunate enough to see a couple of Weather Station’s London gigs, most recently at the Hackney Oslo a couple of years ago and hope that a return visit is possible in the coming months. It would be great to hear the material from the new ‘Ignorance’ album performed live.
There’s really nothing I can add to your description of the excellence of Weather Station’s work, but do you mind if I take the opportunity to recommend another recording to which Tamara Lindeman contributes vocal support, James Elkington’s ‘Ever-Roving Eye’? He’s a Chicago-based British guitarist, influenced (I think) by the British acoustic guitarists of the 60s – Bert Jansch, John Renbourn, Davy Graham – and his songs and superb playing are well worth hearing.