Being invited to participate in a live studio session with the late, great John Peel (a revered and highly influential BBC Radio1 DJ who championed indie music) was one of the best bits of street cred a band in Britain could ever hope to receive. So if you consider that Camera Obscura, an indie pop band from Glasgow, Scotland that initially formed in 1996, was invited to do five separate Peel Sessions, this band is deemed pretty special in their home country. On June 21, the band visited D.C. to tour in support of their fourth album, My Maudlin Career, released in the UK and the U.S. in April. Fellow 4AD labelmate Anni Rossi opened for them.
About 20 minutes after the scheduled stage time, a woman in a short black dress appeared onstage, stepping on a platform in front of the microphone, viola in hand. “Hi, I’m Anni Rossi. And I’m from Chicago.” It was a brief and uncomplicated introduction belying the exciting music in her short, six song set that would be played to us next. A grin crept across my face as I noticed violist Anni taking the stage wearing the same cute little white boots she had on at the Black Cat last month, when she performed as an opening act for Noah and the Whale. I was impressed with her then. And she did not disappoint me this night. She first sang “Machine”, the first track off her first full-length album Rockwell (released in March) before firing off several others from the album. This included “Wheelpusher”, in which she sings, “to be a beekeeper in the Himalayas…“, which brings me to an important point: Anni Rossi’s music makes you think. And you start to wonder what it’d be like to be that beekeeper in the Himalayas. And smile.
Set list
Machine
Venice
Las Vegas
West Coast
Looking Into the Eyes of a Stranger (cover)
Wheelpusher
Advertised as a Favorite New Single, I heard Camera Obscura’s “French Navy” from My Maudlin Career on the Radcliffe/Maconie show weeks ago through my computer speakers and nearly died, aching from the loveliness. There is a ’60s sensibility reminiscent of the Byrds and other folk bands of the time, complete with lush harmonies and orchestration that I just adore. Some might say that Camera Obscura is a ’60s throwback act, but they are so much more than that, successfully blurring the line between pop and folk with lovely, memorable melodies and angelic harmonies. I love the way they dress too; they came on stage looking like they were ready to perform at a quiet church picnic of a bygone era. Both Traceyanne Campbell (lead vocals, guitar) and Carey Lander (keyboards) had large bows in their hair and were wearing conservative white dresses.
My Maudlin Career is a great achievement, and we were treated to several tracks from the new album, including the title track as their set opener, followed by the guitar-jangly “Swans”; and the sad, melancholy “James”, played in appropriately dark, purpley-blue lighting. We also heard songs from their previous three albums, like “Let’s Get Out of This Country” and “Eighties Fan”. Long-time fans around me happily shouted, bopped, and swayed approvingly to the band’s song choices. Soft-spoken Traceyanne merely said a quick “thank you” between songs and exchanging guitars, often cracking a smile bashfully when someone in the crowd would yell, “I love you!” or “you are great!” The band’s fake exit song, “If Looks Could Kill”, reminds me of those days of my childhood where I wanted nothing more to listen to the Beach Boys and drift away. If sweet harmonies about love are what you crave (or maybe they are your guiltiest pleasure?), Camera Obscura is the band for you.
After much audience cheering, Traceyanne and guitarist Kenny McKeeve reappeared by themselves. Into her microphone, Traceyanne quietly ventured, “Do you mind if we try something? I don’t think we’ve ever done this song live.” We’re nobody’s fools; we hooted and hollered in appreciation as they started into the special treat of a gorgeous yet simple rendition of “Other Towns and Cities”.
But lest you think that was it for an encore, the rest of the band rejoined Traceyanne and Kenny onstage. An excited concertgoer in the rafters shouted, “Lloyd, I’m ready to be heartbroken!” How could they then not play their song response to the 1984 Lloyd Cole and the Commotions’s tune, “Are You Ready to Be Heartbroken?” I thought I might be swept away very happily by all the voices in time and in tune with Traceyanne’s infectious chorus of “oh Lloyd, I’m ready to be heartbroken! / I can’t see further than my own nose at this moment“. The set closer, “Razzle Dazzle Rose,” ended with a cacophonous “jam” (that’s the only way I can describe it): each band member went at their instrument with off-the-wall intensity to create a swirly, sonic noise as a psychedelic purple flower lit up the walls and danced for us. No doubt about it: Camera Obscura really hit the spot on the eve of the start of summer here in the Nation’s Capital.
Set list
My Maudlin Career
Swans
Tears for Affairs
The Sweetest Thing
James
Teenager
Let’s Get Out of This Country
Honey in the Sun
Eighties Fan
Country Mile
French Navy
Come Back Margaret
If Looks Could Kill
//
Other Towns and Cities
Lloyd, I’m Ready to Be Heartbroken
Razzle Dazzle Rose
Camera Obscura: website | myspace | My Maudlin Career | @ central presbyterian church, SXSW
Anni Rossi: Anni Rossi | @ black cat | @ peckerheads, SXSW
Yeah, they are pretty cool! Good thing that there are still people like them who can play such music.