The Walkmen at Ogden Theatre, 01/21/13

Categories: Music News

Tom Murphy
The Walkmen on stage last night at the Ogden Theatre in Denver.


Like a punk band scoring a gothic Western, the Walkmen delivered a set at the Ogden last night that came off as a unique chemistry of contrasts. Blending all the feverish energy of rockabilly inside a tightly controlled package of casual style, the band turned a crowd of hard-drinking, high-energy maniacs into perfectly still lapdogs, staring wide-eyed and perplexed at a group executing the impossible by achieving grand, explosive sentiments at a fast tempo without losing their delicate, hypnotic intimacy.

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Without a single ounce of dramatic build-up, the Walkmen's entrance, like their music, was very simple yet impactful, with the band walking casually onto a stage lit with dull, vintage-looking footlights reminiscent of The Grand Ole Opry or the Dean Stockwell crooning scene in Blue Velvet (which may not be a coincidence, considering the scene's use of "Candy Colored Clown" by Roy Orbison is as direct an influence on The Walkmen as you can get).

When the band drifted into the ominous chords of "On The Water," the stage dimmed, and a pale yellow spotlight centered on vocalist Hamilton Leithauser. The whole scene looking refreshingly different from the retina exploding strobes and swirls we're used to with big rock shows these days. Leithauser and company then lumbered through these first few songs, playing at a slightly slower tempo than the album recordings, gradually working their way into the performance like a cold machine creaking back to life.

If you're the kind of person who likes to compartmentalize a band's sound into a genre, then seeing the Walkmen live can be a dizzying and frustrating affair. Blending the romance of Sun Studios, the speed of L.A. punk and the soaring vocals of Rogers and Hammerstein, the bandmembers have created a signature aesthetic, their musical anatomy revealed while also being transcended. Instead of focusing on the contrasts of their collective influences, they find the commonalities between them, which makes for a simply structured yet beautifully conceived blast of inspired rock.

Tom Murphy
Father John Misty on stage last night at the Ogden Theatre in Denver.

Unfortunately, the same can't be said for Father John Misty. While singer J. Tillman was charming with his effeminate wiggles and shimmies (a fun contrast to his burly frame and porcupine beard), and the music did have moments of interesting decoration, the whole of it was the same predictable, Southern-fried indie gospel we've heard churned out time and again for the last five years. Ultimately, it all comes off live as a poor man's Fleet Foxes (Tillman's former band), which is essentially a poor man's My Morning Jacket.

Location Info


Ogden Theatre

935 E. Colfax Ave., Denver, CO

Category: Music

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"Ultimately, it all comes off live as a poor man's Fleet Foxes (Tillman's former band), which is essentially a poor man's My Morning Jacket" - Seriously? "Predictable"? "Southern Fried Indie Gospel"? It's a clever thing to say, but is it even close to accurate? No.


@rightonbarto I believe it is. Over the last five years I've heard so many vocalists put on a southern drawl and sing about good ole boys to a wailing gospel piano despite the fact that they've never lived south of the Mason Dixon line. Often these will be the same former pop-punkers that put on an Irish brogue in the nineties after seeing Boondocks Saints.@rightonbarto @rightonbarto


@Josiah.Hesse I'm from the Appalachian foothills of north Alabama and I find the trend obnoxious. Brightblack Morning Light (early-2000s freak folk, holla!) was about as country as they come, but they sounded like Pink Floyd at half-speed. 

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