Cults @ Union Transfer (1/13/12)

I’m skeptical of buzz bands, those haphazardly assembled internet music groups with something like two or three tracks to their name. They make their way around the blogging circuit, some even fortunate enough to have a feature on Stereogum or Pitchfork, while others fall into oblivion with a “one-hit wonder” that makes everyone’s summer playlist or party sampler. Is there anything to qualify the buzz? Can, or rather should, something so ephemeral garner so much attention from trendy youth looking for the next big thing? Maybe, or perhaps not. I won’t say. But it seems like one band, Cults, has the potential to rise above their buzz, and plant their roots firmly into the quickly aging soil of contemporary indie pop.

I like Cults. A blunt statement, but it’s true. They’re catchy, or rather very catchy, and let’s face it- they can make any room a dance floor. To this end, their main hook is their personality, something that very much came through with their show at Union Transfer on January 13^th. While Cults’ sweetheart Madeline Follin mounted the stage front and center, I was surprised to see such an ensemble behind her with numerous guitars and drums. Having expected a much smaller backing band, I found myself intrigued by the way Brian Oblivion seemed to melt in with the background, only making a prominent appearance with his solo on “Abducted.” To this end, I was upset that the staging put so much attention on Follin, though I guess rightfully so, since she is Cults’ poster girl with a powerful and endearing voice to match.

As they worked their way through their eponymous critically acclaimed debut album, perhaps the most refreshing aspect of Cults’ performance was their charisma and spunky character. I’m always pleased to see a band interact with the audience during live performances, and Cults found a way to keep the crowd entertained even when they were tuning their guitars. Coaxing the audience to dance their hearts out and even to make out (probably one of the better pieces of advice), Follin gave us the right amount of charm to suit Cults’ noise pop grooves.

However, I would be remiss if I did not mention the care Cults took into making their show much more than just a performance, but a true spectacle. From the very beginning as the large screen behind them slowly faded into a web of static as the band prepared to play their first song, I knew that what Cults would be lacking in volume, they would make up with visuals. As one song melded into the next, the giant screen behind them evolved with bright and eerie images, such as abstract colored tapestries, a live feed of Follin serenading the microphone, a twirling strand of DNA (which coupled Cults’ cover of Leonard Cohen’s “Everybody Knows”), and gorilla people riding bicycles. Without such visuals unraveling behind them, Cults would be walking a fine line of staying too faithful to their album, so I’m pleased to see such effort into making their show an experience that one can only get from actually seeing them perform live, and not just through slapping on a pair of headphones.

By the end of the performance, I found myself understanding the appeal behind Cults, with their dreamy pop soundscapes and foolish personality. Maybe they’re sophomore release will propel them into the ranks of Bon Iver or M83, but there’s no denying the stardom that they’re presently enjoying (I mean, they sold out the venue). But one thing’s for sure, no longer are the days of strange curiosity or dubious fandom- Cults “the buzz band of 2011” has evolved into something far bigger and better.

Check out our interview with Cults from their performance last year at Johnny Brenda’s here.

- Gary Kafer, The Gary Kafer Sugar Wafer (Mondays 2-4pm @ WQHS.org)