Listen Up! Concert Review: U.S. Girls and Tune-Yards at Higher Ground

Last Wednesday, Oct. 31, the indie-pop bands U.S. Girls and tUnE-yArDs brought their electric tunes and energy to Higher Ground. The Burlington venue, which regularly hosts popular indie musicians, was dressed for the occasion: cobwebs stretched across the ballroom’s walls, orange lights flashed, and fog obscured the stage. Although turnout was smaller than I had expected (“It’s a school night,” Tune-Yards’ Merrill Garbus reminded us), the bands’ music showcased their fun, yet lyrically-complex repertoire.

The concert opened with U.S. Girls, the experimental pop project of Meghan Remy. Dressed as a “sexy nun,” Remy took the stage with eight other musicians that, together, looked like the band from the Muppets (among them, a banana, a clown, and Kenny from South Park).

Throughout their set, the group performed with dynamic energy, livening up the sometimes melancholy songs on U.S. Girls’ latest album, “In a Poet Unlimited.” Fast-tempoed renditions of “Pearly Gates” and “Rosebud” resembled 80s funk songs, mixing saxophone solos with synth refrains, Congo drums, and two electric guitars. Remy performed alongside another singer—also dressed as a nun—and their breathy, soprano voices sometimes faded into whispers, howls, or moans. Towards the end of their set, the two singers sunk down to the floor and then rose slowly, clawing the air like zombies as the funk music slowly built behind them. While the crowd remained small, the audience bopped enthusiastically to U.S. Girls’ songs, and thanked them with a warm applause.

By the time Merrill Garbus, the front woman of Tune-Yards, emerged on stage, the crowd had begun to fill into Higher Ground’s mid-size ballroom. Concert-goers buzzed with excitement, their cat ears and witch hats puncturing my sightline. Compared to U.S. Girls’ elaborate, 9-piece band, Tune-Yards’ setup was basic: only Garbus, her collaborator and bassist Nate Brenne, and a drummer appeared on stage.

Their set combined fan favorites, like “Gangsta” and “Powa”, with songs from their latest album, “I can feel you creep into my private life”, released in January. The mix was diverse but still cohesive: while the new songs matched the vivacity of older classics, their lyrics felt more political and cutting. In “ABC 123” for example, Garbus sings, “Sitting in the middle of the sixth extinction / Silently suggesting the investment in a generator.” Garbus imbued her lyrics with Tune-Yards’ signature humor (AKA, silly meets oh-no-I’m-serious). Dressed in a bee bib with two jiggling antennas, she danced around the stage, pantomimed and clasped her face as if in “The Scream.”

In concert, Garbus’ musical prowess became apparent. Rather than layering instruments, she looped vocal tracks, ukulele lines and miscellaneous recordings, creating a chorus of eclectic sounds. Her looper pedal sometimes caught noises from the audience—an effect that I appreciated. (You don’t go to a concert to hear what you can hear on Spotify!)

Most impressive though, was Garbus’ voice. Spanning what must be at least two octaves, she hit every note with equal power, a touch of raspiness, and even some sweetness. From whispers to shouts, she maintained the same timbre and perfect pitch. Her bee antennas swung off, but her voice never wavered, which, to me, stuck out as the highlight of the show.

Tune-Yards closed the night with one of their biggest hits from “I can feel you creep”, a poppy  song called “Heart Attack.” Before exiting the stage, Garbus waved to the cheering crowd. “Go vote,” she said. “Take care of each other.”

While Tune-Yards and U.S. Girls wrapped up their U.S. tour last week, November at Higher Ground is jam-packed with concerts. On Saturday, Oct. 11, Vancouver Sleep Clinic will open for Kasbo—a Swedish electronic producer—and on Wednesday, Oct. 14, you can catch the Weeks, an alt-rock band from Mississippi. For showtimes, tickets, or more information, visit https://www.highergroundmusic.com.