CONCERT REVIEW: Christopher Owens @ Union Transfer 1/26
Though Christopher Owens' face is obscured by a curtain of perpetually lanky hair on the cover of his new (and debut) solo album Lysandre, a near-unprecedented proportion of his face was visible during his set last night at Union Transfer.
CONCERT REVIEW: Christopher Owens @ Union Transfer 1/26
Though Christopher Owens’ face is obscured by a curtain of perpetually lanky hair on the cover of his new (and debut) solo album Lysandre, a near-unprecedented proportion of his face was visible during his set last night at Union Transfer. These slightly tamer locks were just one of many changes to Owens’ post-Girls identity. He was also, for example, joined by seven-piece band – a figure that sometimes felt overinflated, especially in the presence of two distractingly under-utilized American Apparel-esque waifs. Much about the songs from Lysandre felt similarly ornamental. With a running time of less than thirty minutes, Owens’ album is slightly insubstantial – a fact which frequent and slightly anachronistic-sounding flute flourishes seemed to emphasize, rather than disguise. And the sameyness of the recurring instrumental theme which runs through each track of Lysandre was not much mitigated by the live performance.
But this somewhat middling first set was mostly redeemed by an extended encore of covers, including The Everly Brothers’ “Let it be Me” and Bob Dylan’s “Don’t Think Twice.” Owens and Co.’s rendition of Simon and Garfunkel classic “The Boxer” was particularly excellent and marked one of the few times that the generally enthusiastic crowd rose from the plastic folding chairs which had been set up for the occasion. Though easily the highlight of the performance, these covers also drew attention to the relative weakness of Owens’ own material.
It wasn’t a bad show by any means — but I did leave more with the desire to hear Owens cover the rest of Bridge Over Troubled Water than to replay Lysandre ad nauseum.
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