Superchunk and Versus @ South Street Seaport

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Wednesday, 22 July 2009 10:18

A soupy haze and increasing clouds were not the most welcoming weather for an outdoor concert, but a crowd on Pier 17 formed nonetheless to see Merge Records label mates—and two of indie rock's more stalwart acts—put on engaging performances.The free show, part of the Seaport Music Festival, relied heavily on early '90s nostalgia, but featured music that sounded as vital as it did two decades ago.

First up was New York City's own Versus, led by Richard Baluyut (guitar) and Fontaine Toups (bass) sharing vocal duties. Recently reformed, Versus seemed timid to start their set. Baluyut and Troups's harmonies slumped more often than soared and the band's characteristic soft/hard dynamic was almost nonexistant. As a result, Versus received a luke-warm reaction from the crowd; in fact, at one point Toups asked those in attendance to make a little more noise and suggested they get another beer from one of the vendors situated around the pier.

It wasn't long after Toups's admonishment of the audience that Versus picked up the pace. Mid-set, Toups's matter-of-fact delivery became more assertive and Baluyut's guitar work, which had been punchless to that point, became increasingly rowdier, and the switches between quiet and loud became more severe.

Songs began to build upon one another, gaining momentum as the set neared a satisfying conclusion. Versus ended with a new song Baluyut called “Cicada,” which will be on an upcoming album the band is recording—their first since 2000's Hurrah. “Cicada” featured harrowing vocals and buzzing guitar work tempered by a tasteful splash of violin. Perhaps the most deliciously noisy song of the band's set, “Cicada” proved that though Versus has been in a sort of hibernation for nearly a decade, they still have some life left in them.

With only a 10-minute break between sets, Chapel Hill's Superchunk took the stage, and they didn't waste any time setting the anxious crowd on fire. Whereas the openers played with dynamics, Superchunk just let it fly, sloppy solos and all, and only let up off the distortion pedal once. The venerable Tarheel four-piece blasted the audience with an hour-long power pop assault, propelled by vocalist/guitarist (and Merge Records co-founder) Mac McCaughan's boundless energy. He jumped around the stage, knocked down his microphone stand and barked out lyrics in a high, nasally voice that might have been obnoxious if it weren't so infectious.

Songs such as “Water Wings” enrapt the audience with its cymbal heavy rhythms and sumptuously thick guitar tones produced by McCaughan and second guitarist Jim Wilbur. For their one-song encore, Superchunk busted out one of its earliest singles, “Slack Motherfucker,” which brought the crowd back to a time when indie rock actually rocked and it was OK to make a fool of yourself at live shows. Fists were pumped, choruses were shouted and perhaps if it really were 1989, there might have been some crowdsurfing too.

Regardless, Superchunk provided enough heat to stave off the rain, at least until a short time after the show ended. The Seaport Music Festival will feature two more Merge Records bands—Polvo and Obits—on Friday, July 31.

– James Barone