Trentemøller at the Ogden Theatre, 10/21/11
TRENTEMØLLER at the OGDEN THEATRE | 10/21/11
Trentemøller on Friday at the Ogden.
Though certainly not the dark horse by any electronic music connoisseur's standards, Trentemøller's performance Friday night at the Ogden Theatre was one for the books. Ribbon banners, flash-popping strobes, projectors, and a full five-piece band backed the Danish IDM musician, whose pass through Denver is just stop number eight on the North American tour.
At 9:15 p.m., you'd have thought the Ogden was closed down for the night and the band that was about to take the stage was really just going to call it a night. Such was not the case, though it must be noted that I have never once felt like I had to whisper while sitting in a venue as the opening band prepped their gear. That band was Xylos, and though the venue felt empty, cold and quiet, but it wasn't long before people caught on that the openers were in fact doing their job: Warming the crowd up.
Somewhat crammed at the front of the stage, the five-piece opening act offered up its version of East Coast indie rock. Although the floor was empty at the start of the set, by the time the group introduced itself, making it known that this was their first time in Denver, Xylos had developed a credible attraction as more and more people started catching on.
This Brooklyn-based group possesses a rockable, dance-rooted sound, and Trentemøller picking them up for tour is going to get them exposure to crowds that may, or may not, typically pick out bands like them. It's safe to say that last night they made a few more fans, this writer being one of them.
Trentemøller's set was scheduled for 10:15, giving the Ogden thirty minutes between the first act and the headliner. As time ticked on and more people filed in, the floor directly in front of the stage filled, and the balcony railings began to have more and more arms hanging over them, fans in anticipation of the Danish headliner. The black-draped stage set-up remained a mystery until the band emerged and vertical ribbon blinds arose from the floors, shielding the band from immediate photography and view.
Right out of the gate, "The Mash and the Fury," from the most recent album Into The Great Wide Yonder rose out of the silence, like Pink Floyd's "Time." It wasn't until the guitar cames screeching in and the track turned its attention towards the composer, Anders Trentemøller, that it was noticable how vastly different the song structure had become. What started out as a rising tone laid gently underneath keyboards, turned into to a full on guitar track, complete with a crashing cymbal to emphasize the breaks and drops.
The ribbons fell and rose throughout the show, as well as the projector screens that served as the backdrop. The projections weren't at the level of an Amon Tobin show, but they did add a certain pizazz when a spotlight would search the stage, passing through the mugs of each member.