Baby’s All Right
June 30th 2022
by R. Payne
Wild Arrows takes a dark stage set for a band. A man walks out as if to test the piano and instead sits down to play a somber ballad. Someone who has listened to their recorded music may find this surprise. The ornate instrumentation and layers suggest that Wild Arrows would be more than a one-man operation.
There is something to be said for a performer who is versatile enough to take the stage and deliver the diverse performance that Wild Arrows does. Unlike most bands who might stake their name on a specific sound or aesthetic, Wild Arrows, in the live show and in their records, jumps across genres and sounds.
Chugging guitars, euphoric synthesizers and simple piano ballads all come and go across the performance just as in their latest album Loving the Void, an artistically pretentious foray into the sounds of electronica, shoegaze, and sometimes hyper-pop.
A small crowd shuffled into the venue, populating the concrete dancefloor – just in time for the music to explode in synthetic violence. Wild Arrows, if anything, is not afraid to leave it all on the stage, delivering an energized and passionate vocal performance atop an often brutal and often delicate fusion of synthetic and organic sounds.
For a one-man performance Wild Arrows fills the room with wall-to-wall sound invoking simultaneously the spirit of arena music and the names of the great philosophers. In a visit with their music, you constantly get the idea that you ought to be thinking about what you’re hearing.
The performance was well planned and free of the normal time spent between songs. The set was clean and sharp. For an up-and-coming group, Wild Arrows carried an air of seriousness and professionalism that is matched by few.
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