Review: Unknown Mortal Orchestra, SWX

When first starting back in 2010 frontman Ruban Neilson stated that his intentions for Unknown Mortal Orchestra (UMO) were to “hatch a new musical dimension.” Latest record Sex & Food is the most approachable to date and succeeds in pushing this dimension closer and closer to the masses.

It’s no surprise then that his show at SWX is the most heaving I’ve ever seen the venue, a mass of bodies pressed together in anticipation. The stage is decked out like a living room, white fur rugs draped across every available space and a trio of innovative greenhouse-esque light boxes pushed against the back. It’s almost a surprise when the band takes to the stage, unannounced and without a single light dimming, Neilson, effortlessly chewing gum as though there isn’t a thousand people eagerly standing ahead of him.

Without word they move into, Ffunny Ffriends, the track that inspired Neilson to give music another go, after his bandcamp mix generated buzz among blogs and record labels nearly a decade ago. It feels like the only appropriate way to kick off the show, drawing the crowd into the sonic world he creates.

As they move into, From The Sun, his passion for breathing his songs to life for a crowd becomes clear. In possibly the earliest show of crowd service I’ve ever seen he turns the end of the second song into a complete guitar meltdown, leaping into the crowd and sprinting up to the balcony area to the impassioned cheers of the audience.

The crisp and clean, characterful falsetto that defines UMO’s records is practically identical live and they sweep through, Swim and Sleep (Like a Shark), Necessary Evil and Ministry of Alienation. Neilson barely speaks to the crowd, choosing instead to completely enrapture them with his unique escapist psychadelia.

A brief break is taken as the band is introduced and tequila shots are taken and suddenly the entire atmosphere changes. Diving into the messiest songs of the latest record the show becomes pure, unadulterated rock. Throughout, Major League Chemicals, Neilson’s lyrics are almost indistinguishable and gnarly as guitars warp and screech through the background. Red, white and blue lights blaze across the stage as they continue the pace, launching into American Guilt.

As quickly as it began the heavier side of the shows fades away as, Not in Love We’re Just High, croons out. Ever clinging onto the energy of the crowd as they clap in beat, Neilson, impressively, and without skipping a note launches into the splits to finish the track. Introspective favourite, Multi-Love brings the audience up again as they leave the stage.

Returning for a stripped back version of, If You’re Going to Break Yourself, the crowd appears limitless in the energy they’re outputting as the final trio of diso-tinged tracks are played. Breaking into, Hunnybee, Everyone Acts Crazy Nowdays and finally, I Can’t Keep Keep Checking My Phone.

If tonight’s show is an indication of the type of musical dimension that Neilson has been striving to create then sign me up, I don’t just want to dip my toes in, I want to live there.