By Michael A.C.
CHVRCHES with fanclubwallet
Bourbon Theater, Lincoln
Wed. June 15th
“I’m so glad we played here instead”, said keyboardist Martin Doherty to a massive ovation Wednesday night in Lincoln’s Bourbon Theater – originally scheduled at The Admiral in Omaha, but relocated a mere five days earlier.
CHVRCHES are currently touring in support of Screen Violence, their fourth full-length album. The album, recorded during the lockdown period of the COVID-19 pandemic, echoed traces of the fear and paranoia of those moments. It peaked at #31 on the Billboard album charts and has had positive reviews. The 1980s horror movie concept of Screen Violence was translated to the stage, with horror music themes and goth rock tracks set the mood in between sets.
This unexpected stop in Lincoln is part of the second leg in their worldwide tour, as their previous leg only came as close as Denver in December 2021. Construction delays at The Admiral (formerly Sokol Underground) were rumored for days before the official announcement of venue change at 9AM on June 10th. It would have been CHVRCHES’s first Omaha show since 2018 at The Waiting Room.
The Bourbon Theater in Lincoln was packed despite the short notice. While Omaha fans had the option to receive a refund, some remained committed – a statement to the rising popularity of the Scottish synthpop band. Omaha fans were not the only travelers; Fans came from as far as Casper, WY and Minneapolis to see CHVRCHES.
Ottawa-based group fanclubwallet opened the show. Bands with a sense of humor are appreciated in 2022. Fanclubwallet gave us a nice dose of it with songs like “You Have Got To Be Kidding Me”, as well as a moment where singer Hannah does the macarena during a song. I certainly appreciate a bass player that can’t hold still, and their bassist was like a stevia version of Flea. There is a tinge of post-punk blended with some fun singalong style of indie. They went over so well in Lincoln that they had plenty of merch sales and couldn’t set up shop in Kansas City the next night. They are highly recommended for anyone that likes indie rock.
It was showtime as the theme to A Nightmare on Elm Street played, with ominous smoke clouds and blue lights foreshadowing their entrances to a huge ovation. The band opened with their instant classic, “He Said/She Said”. The array of colors created a silhouette of singer Lauren Mayberry, who executed her trademark spin across the stage. The song was met with a fanatic call-and-response to its chorus “I feel like I’m losing my mind/over and over” – as if they waited an eternity for this moment. Like a scaled-down Depeche Mode, CHVRCHES rewarded their faithful at The Bourbon Theater a set worthy of a stadium.
The big screen visuals were not on display in Lincoln but it was only a minor disappointment. The band simply compensated with their own energy. Lighting creates heat and in 100-degree weather safety must be considered.
There were a large percentage in attendance that were familiar with the lyrics. Whether it was the hip clique in the front row or the tough rockers in the mid-section, none of them were afraid to sing along. One fan was losing his voice halfway through the set. Be it boredom from the pandemic, enthusiasm for the music, or both, the people were starved for a big event.
It was quite the sight to see a lot of macho men sing “Good Girls” verbatim – especially headbangers who could out-bench me in the gym. The feminist, anti-objectifying anthem where Mayberry declares “I never had a taste for liars/Or the uniquely uninspired/’Cause I don’t need to be desired” is so catchy its targeted demo can’t resist singing along. Best case scenario is the message had been received – either way it is a major accomplishment for the band to have such a powerful set of lyrics resonate.
Throughout the show Mayberry several wardrobe changes, showing her variety of style. For a few songs she was thrift store chic. But she sheds the classy for a pleather dress full of attitude. Then she enters wearing the popular “FINAL GIRL” t-shirt, an homage to the horror movie trope, escalating to the end of the set where she was covered in fake blood. Mayberry makes no permanent commitment to any look, but only to the inner gigantic ferocity that is tenfold her five-foot tall height.
Singer Lauren Mayberry came ready to perform against the Midwestern heat. Her instantly recognizable vocals retained all the beauty and ferocity of her recorded material. Both on record and in concert, her voice is almost comparable to Harriet Wheeler of The Sundays – with the only difference is Harriet performed gentler material.
Martin Doherty and Iain Cook are no mere sidesmen, switching to guitars and basses for tracks such as the jangly “California”. Martin performed most of “How Not to Drown” behind an electric piano. Their vitalness to the sound is comparable to what Martin Gore and Alan Wilder had been to Depeche Mode. With most of the attention going to Mayberry, one would not notice how busy Doherty and Cook are in the background. But they were putting in the same level of effort. If anything, it’s a little disappointing to not have Doherty sing one of his lead vocals, as it is a nice addition to the group. Still, whether they are behind keyboards or are beside Mayberry with their Fender instruments, they were an important part of the act.
Lauren Mayberry is not only the center of the performance but is essentially the band’s entire image. There is almost a mystique that feels like Ellen Aim from the cult classic movie Streets of Fire. Like Debbie Harry and Shirley Manson before her, Mayberry has “that” rock star attitude that made Debbie and Shirley “it-girls” of their time. Mayberry also has an element of intellectualism and gentle humanity alongside the sass. After all, she is a reputed philanthropist and has a Master’s degree in journalism. For all intents and purposes, Lauren Mayberry is the Audrey Hepburn of the electronic age. I said it and I mean it.
The set came to an end with the anthemic “Never Say Die”, which would have been the song of the night. But for the encore, covered in fake blood, CHVRCHES took it to another level with two more songs, then the ravestopper, “Clearest Blue”, which had the floor jumping like Glastonbury. Like every great act, the show ended with the fans wanting more.
With every tour CHVRCHES inch closer and closer to the mainstream. With an NME award, a duet with Robert Smith from The Cure, and several soundtrack appearances one would wonder when the day will be. For any working band this is a situation they dream of – to have legion of fans willing to spend and travel at the drop of a hat. And the reason is because they have earned it. Adapting to strange circumstances and enduring strange climates are a part of the road, but you can tell the band wanted to be here. And they spared no level of effort to reward those who made their own sacrifices to attend.
This leg of the Screen Violence tour ends June 18th at a festival in TN. CHVRCHES will return for another run of shows in the United States in Late July until early Oct. The next closest show will be a return to the Mission Ballroom in Denver on Sept. 20th – nearly one year removed from their last performance there in Dec. 2021. Currently, the band are scheduled to tour into Jan. 2023 with dates confirmed in Australia.
Set List:
He Said/She Said
Forever
California
How Not To Drown
Violent Delights
Science/Vision
Good Girls
Bury It
Miracle
Night Sky
Final Girl
Recover
Never Say Die
Encore:
Asking For a Friend
The Mother We Share
Clearest Blue
Michael A.C. hosts the indie rock show SUBZ3R0 Sunday Nights at 8PM. IG @thisismichaelac
