Viet Cong Shine and Destroy at Treasure Island Music Festival
Eddie
Viet Cong’s name has caused dissension not only in the blogosphere and on social media, but also in the IRL indie scene and print show previews or reviews. As headlines flew around the world condemning or defending the name, Viet Cong found itself encountering protests before performances (including a recent show at Neumo’s in Seattle) and even a cancellation of an Oberlin College campus gig in Ohio in March 2015. In a Facebook post dated September 19, the members admitted to choosing the band’s moniker hastily and have since made plans to change it. In the interim, they are using the name until a suitable replacement is decided on by the group.
The band came through San Francisco earlier this year to give a sold-out crowd at Rickshaw Stop a raucous set steeped in psychedelia, post-punk, and awkward time signatures that often betrayed traditional song structures.
Viet Cong’s San Francisco return at this year’s Treasure Island Festival alongside Drive Like Jehu, Father John Misty, Ex Hex, Ought, Deerhunter, and more, showcased a band ready to break into even larger territory. And while the band was scheduled as the second act of the day, it took full advantage of the opportunity to play for different faces. In fact, despite the early slot, there were what looked like a crowd of nearly 3,000 people there for the band’s brunch-time set.
With little more than a simple back line consisting of drums, keys, guitar, and bass at its disposal, Viet Cong launched headlong into a heady set.
It was during songs like the upbeat yet haunting “Silhouettes” — one of the strongest tracks off the group’s debut album — that the crowd began to get their blood flowing along with the plodding bass line, a simple 4/4 groove, and a wall of keys and discordant guitars. Both “Monty” Munro (guitar, synth) and Daniel Christiansen (guitar, synth) proved they could carry the song home in grandiose fashion with juxtaposing guitars that recalled some of the best moments of early ’80s new wave and early Joy Division or even Echo & The Bunnymen.
“We wrote these songs for Sunday afternoons,” said vocalist/bassist Matt Flegel halfway through the band’s set while it trudged through some of its murkiest material, including “Bunker Buster” and the slogging hypnotic drone of “March Of Progress.” It was during the more challenging latter song one could easily separate the real fans from those more concerned with checking in on Facebook.
Unbeknownst to concertgoers, the group was also being courted by possible new management but played by their own roles just the same. The band played a set of dynamic and challenging tunes and chose to bury their biggest song, the ever-so-catchy “Continental Shelf”. Drummer Mike Wallace even had the audacity to take a piss break during their set much to the chagrin of his band mates who smiled at the crowd during his release.
With the city directly behind them, the band’s oft-repeating guitar lines and mesmerizing choice of songs were effectively carried by the wind with just enough delay and audio wash to add a new dimension not heard in a club setting. The setting couldn’t have been more apropos for anyone checking out the band for the first time as well as repeat offenders who expressed their approval with thunderous applause at the close of each song.
“Death,” the last number of the set is, probably not so coincidentally, the band’s new album’s closer, and has proven time and time again the best way to stir its crowd into a whipped frenzy, good or bad. A near 15-minute track live, the tune found people either enthralled by the band’s frenetic rock antics or, in some cases, a little put off by the brash noise this early in their festival day. Those who could handle the starts and stops of a song that seemingly had no end in sight did find great reward, however, with the song ending with drummer Mike Wallace’s kit in pieces.
If anything, Viet Cong were making a statement about itself today: the band wants to be around for years to come but will do so only by its own volition. Today was proof positive this ensemble is more than able to deliver. That follow-up album can’t come soon enough.
Critic’s Notebook:
I found out the hard way that Viet Cong do not spend a great deal of time together when not playing. Rallying up the entire band to take a quick photo (see above) after their set was a feat that even their tour manager, Rena, was impressed even happened. Once they were gathered backstage for the quick shot with our photographer, they did lighten up and even managed to eek out a couple of smiles (or shall we say smirks) for the camera.
The band still tours in a van yet already seem to have loftier aspirations than Women, a sadly short-lived band featuring VC drummer Matt Wallace and bassist / vocalist Matt Flegel. Newbies just checking out Viet Cong for the first time should also check out Women’s self titled album (2008) and the magnificent Public Strain (2010).
If you’re seeing the band for the first time, turn off your phone and listen. Their brand of post-punk incorporates heaps of layering and trance-inducing, soporific fare that demands your attention to be appreciated. Drinking and doing drugs can make their show an even more revelatory event, but are not mandatory for a great time.
(SF Weekly)
