The Antlers’ evident enjoyment in playing to European crowds was certainly reciprocated by an equally fervent group of fans. It’s safe to say that The Antlers are welcome back to the Nouveau Casino at anytime as long as they continue to put on softly-layered and great sounding live performances.
The heart monitor flatline in the opening of undun is more than an just an entry, it’s an exit and ending to a life that belonged to Redford Stephens, the poor-decisions-dictated-the-unfortunate-outcome-of-life type of identifiable character that The Roots’ 13th album is centered about. In this detailed introduction, the reverse whirlwind that shifts from the piercing first note into the ghostly organ-driven lines leads up to a man’s final breath of air in a fast-paced adrenaline rush.
Coming out in a red-hot Porter Wagoner-styled ensemble, upon spying cameras in the hands of a few, he coaxed them into taking as many photos as they wanted: “I didn’t put this suit on for nothing”, he quipped. He would make a disco ball-like re-entrance for the encore in a mini-mirror-plated suit shooting bolts of reflected light throughout the intimate theatre. Getting everyone in a good-time mood, his opening repertoire included “Beautiful Homes”, “Dancing”, “Somebody’s Crying” and “I Want Your Love” which had Yatovitz doing his “dance of love”. “If you enjoy him, you can take him home,” deadpanned Isaak.
