My review was originally posted at ocregister.com
Travis’ performance at the Wiltern Friday night was among the band’s
most captivating local shows to date, thanks to some literary touches
and moments of brutal honesty.
Before the Glasgow group played “Re-Offender,” frontman Fran Healy explained that the inspiration came from witnessing domestic violence as a child.
Then the singer recited “This Be the Verse,” a profane yet popular 1971 lyric poem by late English bard Phillip Larkin. The subject matter, about shoddy parenting, was completely relevant.
Paving the way for Coldplay, Snow Patrol, Keane, Elbow and other U.K. outfits who often wear their hearts on sleeves, Travis reached a commercial peak back home with its second effort, 1999’s multimillion-selling and award-winning album The Man Who.
That successful run continued abroad for several follow-ups and a dozen Top 20 singles. Stateside, the quartet achieved more modest sales and radio airplay (locally on KCRW and KROQ) yet has amassed a large cult following.
Now Travis is back after a five-year hiatus, during which the guys spent time raising families and Healy presented his first solo album and tour. New release Where You Stand was partially recorded at Berlin’s famed Hansa Studios (host for quintessential albums from Bowie and U2, among others) as well as on an island off the coast of Norway.
Various members took a more active role in the creative process, resulting in their most intriguing and consistently satisfying album since 2001’s The Invisible Band.
A poetry recording served as an introduction in Los Angeles, then
Travis launched its 95-minute set with an exhilarating “Mother,” the
first of five new impressive tracks aired, with an appropriate key
lyric: “Why did we wait so long?”
Healy and bassist/backing vocalist Dougie Payne were all smiles throughout the performance. The sincere lead singer vigorously strummed an acoustic guitar and frequently interrupted his keening vocals with exhortations to get fans in the well-attended venue more riled up.
“It’s good to be back in this room,” Healy noted about the Wiltern, where Travis had played several previous gigs. An enchanting “Driftwood” prompted a few enthusiasts to raise their hands like a religious event; the breezy “Reminder” (a list of rules aimed at Healy’s young son) found three of the musicians whistling in unison. Listening to the dreamy “Closer” was akin to being wrapped in a warm blanket.
Andy Dunlop and Healy really got to rock out on electric guitars during the conclusion of “Writing to Reach You” and an energetic “Side,” both to rousing responses. Later, they pulled out the stops again for “Turn” (by jumping around) and “Blue Flashing Light,” another household abuse tale, complete with harrowing feedback. At the latter’s finish, Healy referred to Breaking Bad: “That was a real Walter White moment.”
Come encore time, Travis came to the front of the stage and gathered around one microphone for a rendition of the folky “Flowers in the Window” featuring only acoustic guitar and keyboard. The slow churn to abrasion that is “All I Want to Do Is Rock” was dedicated to aspiring bands; Dunlop even went into the audience, flashlight strapped atop his head, and played guitar raised above it.
Finally, Healy stressed the importance of live music and they launched into signature song “Why Does It Always Rain on Me,” accompanied by vigorous singing and pogoing along by devotees in every tier of the venue. All in all, a most welcome return.
Luke Rathborne and his self-named Brooklyn-based band served as warm-up, showcasing their album Soft,
produced by Emery Dobyns (who also has handled efforts for Travis) and
Albert Hammond Jr. of the Strokes (Rathborne opened for that group in
2011).
The winsome half-hour set here was characterized by taut, economical power-pop and alt-rock songs that at times recalled Ben Kweller and Brendan Benson.
A strident “I’m So Tired” and “Wanna Be You” were standouts. The title track from their latest disc found the lanky singer showing off his falsetto, “So Long NYC” was adrenaline-fueled, and Rain Phoenix added some inspired vocals to the peppy “Last Forgiven.”
Set list: Travis at the Wiltern
Before the Glasgow group played “Re-Offender,” frontman Fran Healy explained that the inspiration came from witnessing domestic violence as a child.
Then the singer recited “This Be the Verse,” a profane yet popular 1971 lyric poem by late English bard Phillip Larkin. The subject matter, about shoddy parenting, was completely relevant.
Paving the way for Coldplay, Snow Patrol, Keane, Elbow and other U.K. outfits who often wear their hearts on sleeves, Travis reached a commercial peak back home with its second effort, 1999’s multimillion-selling and award-winning album The Man Who.
That successful run continued abroad for several follow-ups and a dozen Top 20 singles. Stateside, the quartet achieved more modest sales and radio airplay (locally on KCRW and KROQ) yet has amassed a large cult following.
Now Travis is back after a five-year hiatus, during which the guys spent time raising families and Healy presented his first solo album and tour. New release Where You Stand was partially recorded at Berlin’s famed Hansa Studios (host for quintessential albums from Bowie and U2, among others) as well as on an island off the coast of Norway.
Various members took a more active role in the creative process, resulting in their most intriguing and consistently satisfying album since 2001’s The Invisible Band.
Healy and bassist/backing vocalist Dougie Payne were all smiles throughout the performance. The sincere lead singer vigorously strummed an acoustic guitar and frequently interrupted his keening vocals with exhortations to get fans in the well-attended venue more riled up.
“It’s good to be back in this room,” Healy noted about the Wiltern, where Travis had played several previous gigs. An enchanting “Driftwood” prompted a few enthusiasts to raise their hands like a religious event; the breezy “Reminder” (a list of rules aimed at Healy’s young son) found three of the musicians whistling in unison. Listening to the dreamy “Closer” was akin to being wrapped in a warm blanket.
Andy Dunlop and Healy really got to rock out on electric guitars during the conclusion of “Writing to Reach You” and an energetic “Side,” both to rousing responses. Later, they pulled out the stops again for “Turn” (by jumping around) and “Blue Flashing Light,” another household abuse tale, complete with harrowing feedback. At the latter’s finish, Healy referred to Breaking Bad: “That was a real Walter White moment.”
Come encore time, Travis came to the front of the stage and gathered around one microphone for a rendition of the folky “Flowers in the Window” featuring only acoustic guitar and keyboard. The slow churn to abrasion that is “All I Want to Do Is Rock” was dedicated to aspiring bands; Dunlop even went into the audience, flashlight strapped atop his head, and played guitar raised above it.
Finally, Healy stressed the importance of live music and they launched into signature song “Why Does It Always Rain on Me,” accompanied by vigorous singing and pogoing along by devotees in every tier of the venue. All in all, a most welcome return.
The winsome half-hour set here was characterized by taut, economical power-pop and alt-rock songs that at times recalled Ben Kweller and Brendan Benson.
A strident “I’m So Tired” and “Wanna Be You” were standouts. The title track from their latest disc found the lanky singer showing off his falsetto, “So Long NYC” was adrenaline-fueled, and Rain Phoenix added some inspired vocals to the peppy “Last Forgiven.”
Set list: Travis at the Wiltern
Main set: Mother / Selfish Jean / Pipe Dreams / Moving / Love
Will Come Through / Driftwood / Warning Sign / Re-Offender / Where You
Stand / My Eyes / Reminder / Writing to Reach You / Side / Sing / Closer
/ Slide Show / Blue Flashing Light / Turn
Encore: Good Feeling / Flowers in the Window / All I Want to Do Is Rock / Why Does It Always Rain on Me
photo by Drew A. Kelley
Encore: Good Feeling / Flowers in the Window / All I Want to Do Is Rock / Why Does It Always Rain on Me
photo by Drew A. Kelley
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