Synth-pop, by definition, is a sub-genre of independent music in which a band is lead by synthesizers, keyboard tones, programming, etc. In the case of Future Islands, Sam Herring rules the Baltimore-based band — the lead vocalist is also their most prominent instrument.
Then, there’s a tie between the ever-present bassist and the synthesized keyboardist. They stand off to the side, literally and figuratively, and let Herring perform to their crowd of hyperactive enthusiasts that came to dance and listen to the music.
This was indeed the case at Black Cat Oct. 25, when Future Islands took the small yet famous stage. The self titled “post-wave dance band” was greeted by an energetic crowd of all ages.
Tucked-in shirt, for optimal stage movement, and sneakers allowed Herring a fluid, yet static charismatic appearance throughout the entire performance. His two other members made sure to give him a good couple of yards of space for his emotionally driven movements that rallied up the crowd.
With one fist clenched and the other wrapped tightly by the microphone’s cord, Future Island’s front man required space to engage in his audience. Herring would frequently grab hands and heads alike in their set.
“An apology is the hardest thing to say,” Herring said to introduce a block of “In Evening Air” tracks.
“In Evening Air,” the band’s sophomore release, was the dominant album at the show, much to the audience’s delight.
But the group also performed new tracks from their recently released album “On the Water” that surely impressed the crowd.
“Balance” and “Before the Bridge” represented the better half of their new album.
Their fixation on bass progression and simple, yet necessary, keyboards embodied what’s good about this band. Even Future Island’s first album, “Wave Like Home” was well represented with a couple tracks. But it was definitely the sophomore album that was most receptive.
“Vireo’s Eye” was their most impressive track, the distinct synth tones and bass line lead into Herring’s voice, which carried a deep and raspy tone. His voice was mystifying and deep, but was enticing and unique.
“Inch of Dust” started out shaky, which was met by Herring, who said, “Let’s start over, the beginning of this song is the best part.”
Humor rolled throughout the show, thanks to Herring’s one-liners.
The upbeat band has received many positive reviews and has a pretty devout fan base. The show was exciting purely based off the music, no aesthetics, lights or visuals added to the scene.
But Herring seemed troubled, weighed down with emotion. He would frequently start songs sitting down, head in his hands, on the verge of tears. Then he would rise up and gaze into the crowd like a realization or epiphany was occurring.
All this seemed very dramatic, but it added to the experience; one could feel and hear the emotion. He was preaching to a choir that was willing to listen, but many of his emotions were lost in the grandiose presentation of synth, dance-pop.
Few could hear the deep, sentimental lyrics that were under the breezy, triumphant tone that is Future Islands.
lzausen@theeagleonline.com
