Sweden’s dynamic duo First Aid Kit brought their Americana-tinged folk-rock to Seattle recently to a sold-out show at the historic Moore Theatre on January 28th. Their first stop in Seattle in four years, their show did not disappoint. The earnest sisters and the three backing musicians, ably supported by Van William, had the audience alternately sighing in delight, clapping along, and generally captured in their musical web. Supporting their new album, Ruins, the band played new songs to the obvious delight of some, as well as some of the stalwarts from their catalog, ensuring fans old and new were satisfied.
Key to First Aid Kit’s appeal is the gorgeous voices and compelling harmonies of the sisters. Whether soaring high or speeding through rock-tinged lyrics ripe with anger about contemporary social issues, their voices pull the listener along, often delivering the glory and transcendence only good harmony sung by impressive voices can deliver.
Not only do their voices perfectly complement one another, it is also evident that the sisters share a deep bond that enhances their musical collaboration. At various points throughout the show, they would humorously announce things (such as a guest or fellow musician) in a quasi-operatic bout of a goofy song. They seemed always in sync, showing a polish, practice and level of connectedness that belies their relatively young years.
The show was relatively light on visuals, with lights and fog providing an effective ambiance and a backdrop ranging from images of the sisters together to lyrics from the song being played. Musically, they played a great range of classics (standouts from which were “Emmylou,” “My Silver Lining,” and “Great Pretender”). Further, their new music is a great addition to their previous work, with some songs (particularly “Fireworks”) feeling immediately familiar even as others (“Hem of Her Dress”) seemed to explore new territory.
Of particular interest to this reviewer was the diversity represented in First Aid Kit’s audience. The youngest fan spotted looked to be about 4 years old; concurrently, grey hair was not absent, and all ages in between seemed well represented. This would seem to speak to the timeless beauty of the music they create and the excellent presentation of that music in a live setting.
