So many a concert stands and falls with the audience. This may not be the case for some concertgoers, but for someone who visits nearly two shows a week, the behavior of the surrounding people plays a significant role. Not surprisingly, Basement is meeting a larger audience with their much more accessible major label debut “Beside Myself”. Accordingly, it is hardly surprising that the European tour start of the East German in the Cologne canteen, which holds at least 1000 people, also almost “sell off” may announce. So how does the band master their debut? What role does the audience play in this?
The Muncie Girls are more likely to be on the smaller stages, who are not very noticeable between indie rock, punk and restraint, but musically deliver a nice 30-minute Einheizer show. In a sweaty club, the trio will be more effective. Culture Abuse, which is then its turn, then take the room more, which is partly due to the higher number of band members. The hardcore indie, the Californians play, entertains and pleases the listeners visibly well. First moshpits are started, the surrounding people eagerly nod. Singer David Kelling, who casually wears an analog camera “Goldkettestyle” around his neck, suffers from a movement disorder, which is why he has to be helped on stage and later on again. Whether the performance lasts just twenty minutes, or simply goes by in principle as if in flight, remains open.
Basement are also familiar with short sets. After entertaining for headliner 55 minutes the British concert is over again. The hall light remains switched off for a few minutes, “encore” calls sound, but the band does not want to dare to go on stage again. Even if that is due to the Cologne audience remains unclear. That is unusually reckless. Stagediver shoot sharply past the musicians on stage several times, trampling carelessly over their effectboards. Much more important than the music and the band seems to be the artful somersault in the moshpit or somersault on the sidelines. Some also hardly know the material of the Emo-Grunger. When the band leaves the stage, a young gentleman from the audience grabs the microphone to start the search for his lost mobile phone through the loudspeakers. About Handy. So, whether Basement completely renounced encore, because they simply do not want to have more songs, the lighting technician of the location, despite multiple request just does not want to dull the glare in the song breaks or it just annoying the egoism of the crowd? Who knows?
Too bad, otherwise the quintet is completely convincing. Even the songs of their current album, of which the majority of the evening comes, pop much more live than on record. In addition, the band seems to have worked on their stage presence. Illuminated by the flickering light, the rockstar poses of guitarists Alex Henery and Ronan Crix look pretty cool. Even singer Andrew Fischer still hits every note and remains the only frontman who can play air instruments without looking absolutely silly.
Latest at “Covet” but then also short audience and band together and all are in the arms. This brief ray of hope stretches across “Promise Everything” to the very end of the concert, but soon fizzles out after the band leaves the stage and decides not to return for some songs. So a short evening full of poserism comes to an end, for the course of the band rather little. By the way: The cell phone was not found after the end of the concert.
Tickets for the current tour can be found here.
You can buy the album “Beside Myself” here.
And this sounds like this:
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Basement live 2019:
22.01. – Berlin, Bi Nuu
23.01. – Munich, Feierwerk / Hansa 39
24.01. – Vienna, Flex
Photo by Jonas Horn.
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