By: David Schultz

Even though it was only two months ago, it seems like ages since Okkervil River released their refreshingly articulate and heartfelt fourth album, The Stage Names So it goes with our accelerated culture, we rush to laud lavish praise upon an artist and just as quickly move on to the next talented group that catches our fancy. With Okkervil River, it feels like we’ve moved past them a little too quickly. A little less trivia-oriented than their last New York appearance (in opening for Lou Reed this past April, they became the first artist to perform on the HighLine Ballroom stage), the Austin-affiliated band returned to New York City this past Friday for a headlining stint at Webster Hall.

With singer and songwriter Will Sheff and keyboardist Jonathan Meiburg acting as anchors, Okkervil River’s lineup has evolved slowly. Over the past couple years they have solidified into their current six piece with Brian Cassidy (guitar), Patrick Pestorius (bass), Scott Beckett (trumpet/keys) and Travis Nelson (drums) rounding out the group. Although they wore their rough edges proudly at Webster Hall, they seemed like a band that’s just hitting their stride.

If a great deal of Sheff’s lyrics didn’t paint a portrait of an uncertain soul whose constantly disappointed in his search for meaningful interpersonal contact, the slight awkwardness Sheff exhibits on stage would seem a tad affected. To the contrary, Sheff puts himself out there, finding solace in the release of the song. Singing with an emotionally naked voice, Sheff gives you an idea of what Robert Smith would sound like had he stopped whining or even what Morrissey could have done if he just got over himself. In another era, Okkervil River might have been tempted to follow the path of The Cure or The Smiths and wallow in self-pitying moody anthems. In this one, Sheff confronts his uncertainties head on with a dry Ray Davies style analysis and Okkervil River bottles the resultant energy into slowly building tunes that ultimately burst free from their restraints.

The eighty minute set primarily revolved around its singer/songwriter. Sheff is wordy fellow and he packs a good deal of verbiage into his often alliterative lyrics. He also has a pretty sharp wit; their opening number, “Plus Ones,” makes reference to such inanities as the 51st way to leave your lover, the fourth time a lady and that elusive 100th luftballoon. A great number of the songs centered on Sheff’s vocals and distorted acoustic guitar with Beckett offering plaintive backing on his trumpet and Cassidy contributing nice contrasts on his guitar or mandolin.

The show’s climax featured fantastic runs through the best numbers from The Stage Names: the rambunctious “Unless It’s Kicks,” “Our Life Is Not A Movie Or Maybe” and “John Allyn Smith Sails,” which segues into a wonderfully electrified interpretation of The Beach Boys “Sloop John B.” Their restrained encore, which included “A Stone” and “Westfall,” didn’t have the same energetic rush, though the diehards were thrilled.

Okkervil River will be playing a few more shows in the United States before heading overseas to embark on a lengthy European tour.

Labels: Live Reviews, Okkervil River