O, Valencia!

The Decemberists
Tower Theater, Philadelphia, June 6

When I ventured to Philadelphia's Tower Theater to see The Decemberists, I thought it would be a low-key affair; Tower's shows are all seated and The Decemberists' music tends to be gentle. So I was in for quite the surprise when it turned into one of the most exciting gigs I've seen this year. Opener Robyn Hitchcock was a pleasant if slightly innocuous beginning to the evening, playing a set that shifted between soft, folk-tinged guitar and songs that edged toward a harder sound. The standout of his performance was 'Up to our Nex,' a track that appeared in last year's Rachel Getting Married.

After a brief break, The Decemberists appeared in silhouette against a background that shifted colors moodily throughout the gig. The Portland-based band is normally a five piece, but they've number expanded to an Arcade Fire-rivaling seven with the addition of guest vocalists Shara Worden and Becky Stark. Frontman Colin Meloy got the most cheers when he finally took the stage, kicking off the set with the first track from their latest album, The Hazards of Love.

Hazards consists of 17 songs telling the story of a young woman named Margaret, her rakish lover, a forest queen, and the troubles that inevitably ensue when you combine those characters. It's a beautiful and unusual piece that showcases Meloy's penchant for storytelling, and it demands a unique live presentation. So, during this tour The Decemberists have been playing Hazards in its entirety, a experience that highlights its careful composition and the band's technical prowess.

Hazards is a varied album and a departure for The Decemberists, straying from the gentle, folky sound that characterizes their previous releases in favor of chunkier guitars and a darker overall aesthetic. That's not to say that their love of unusual instrumentation has diminished-- everything from steel guitar to accordion to double bass makes an appearance. Seeing the album as a cohesive whole is transfixing; the way reprises and melodies shift and fold in on each other is magical, and the deliberately symbolic staging and costuming of Stark and Worden underscores the theatrical elements. It's a testament to the band that they reproduce a complex piece live with stunning success, and a gift to fans who get such a singular experience.

Standouts from the first half of the evening included vindictive single "The Rake's Song," which saw five Decemberists drumming at once, and the contrasting delicate harmonies of "An Interlude." The appearance of My Brightest Diamond's Worden, looking like Karen O. and shaking things up with some dance moves and gold leggings during "The Queen's Rebuke/The Crossing," was another highlight, as were Meloy and Stark's duets. "The Wanting Comes in Waves/Repaid" showcased one of the catchiest hooks The Decemberists have produced, twisting guitar that's miles away from Picaresque. They retired for intermission after eerie "Hazards of Love 4 (The Drowned)," then reappeared for a set of older songs that had the audience on its feet for the rest of the night.

The energetic second half of the show brought some classic, mandolin-accented, folktale-laden Decemberists, opening with "Crane Wife 3," flagging a bit through slower tracks "Shiny" and "Sleepless," then breaking out crowd favorite "July July." Unlike the pristine first half, the second set suffered from some sound problems, with Meloy's vocals occasionally getting drowned out by the rest of the band. This did little to diminish the crowd's excitement when he introduced "Dracula's Daughter" as "the worst song I've ever written," pointing out its "douchey" chords before moving on to a gorgeous rendition of "O Valencia!" The showpiece was "Chimbley Sweep," which saw Meloy and guitarist Chris Funk passing their instruments off to some front row fans for an extended interlude. Stark and Worden then returned for an unexpected cover of Heart's "Crazy on You." The encore brought delicate, country-tinged "Bandit Queen," followed by fabulous closer "Sons and Daughters," with Meloy leading an audience singalong of final line "We are the bombs that fade away."

The verdict? The Decemberists should do anything but fade away if they get the appreciation they deserve for this tour with Hazards. Their musical skill and sense for dramatic arrangement shines in both the sprawling new album and their older work (although the first half of the set overshadowed the second), and Meloy is a charismatic and frequently funny leader for the talented group of musicians. If you can experience Hazards as a whole, do so; it's a sparkling and thoughtful piece that stays with you long after the performance ends.