On Wednesday evening, the American desert rock and Americana legends Calexico thrilled the sold-out Vienna Volkstheater with a complete review of “Feast Of Wire” and a best-of encore set of pure joie de vivre. The timelessness of the compositions, which are up to 20 years old, is impressive.
When Joey Burns and John Convertino joined forces to form a band called Calexico almost 30 years ago, they certainly had no idea how cult-like they would become, especially in Europe. The duo emerged from the rock massif of Giant Sand, a still active alternative country/Americana project around frontman Howe Gelb, who has long since been overtaken by his protégés in terms of success and commerciality. Calexico, before 1996 just an unknown town on the US/Mexico border, as a creative duo, set out to mix the lifestyle of the local residents with mariachi and desert rock quotes. The result was an amalgam of subtle sounds that were to be subsumed into a few very good, but not yet pretentious, albums. The big game changer The big bang came exactly 20 years ago. “Feast Of Wire” was a bombastic expansion of the Calexian sound cosmos and a first, but at the time long overdue, step out of their own comfort zone, which Burns and Convertino had defined far too tightly around themselves and their abilities. On this work the duo became a full band. They shouldered the responsibility, but also the expanded creativity more broadly. Jacob Valenzuela’s trumpet, Martin Wenk’s powerful accordion and the use of pedal steel guitar and increased percussions changed the band’s gesture and external appearance. “Pitchfork” critic Joe Tangari was overwhelmed with enthusiasm. “It’s the album we always knew they had within them, but were afraid they’d never write.” From a purely commercial and chart placement perspective, the last ten years should of course have been more successful, but “Feast Of Wire” shaped the face of Calexico, which several generations of fans still appreciate and love today. For the 20th anniversary, Burns and Convertino not only reissued the career-defining work, but also created a lavish European tour around it. The most important requirement: if possible, only perform in theaters and iconic auditoriums. At least in locations with history and atmosphere – after all, the band and their material live and breathe these landmarks. The choice fell on the Vienna Volkstheater and the almost 900 tickets were sold relatively quickly. The welcome Austrian regulars Calexico on Wednesday evening were also in top form.Jubilant NachtfalkeSupported by a wonderfully clear sound and a precisely timed light show, the band, which still consists of numerous original musicians from back then, takes the audience by storm. Six knowledgeable guys with perfectly fitting shirts and western hats stand with their legs apart in the scene and act as colorful and genre-busting as “Feast Of Wire” already was back then. Indie folk, Americana, lots of mariachi, references to Quentin Tarantino or Ennio Morricone, alt-country and Latin sounds find their way out of the amplifier speakers. Songs like “Sunken Waltz”, “Black Heart” or “Dub Latina” are worlds apart. To the fantastic “Not Even Stevie Nicks…”, which has absolutely nothing in common with the aforementioned protagonist in terms of content, the cool-as-dust group provides a desert version of the Joy Division evergreen “Love Will Tear Us Apart” – including a room-wide sing-along factor. Even noble fan Hans Krankl can no longer stay in his seat in the box. To celebrate the anniversary, Calexico will play their early masterpiece in its entirety and chronologically. This is important and correct in that this work needs the tension to be fully understood and enjoyed. You don’t get to hear any big background stories from Burns, he prefers to let the memory rest and the music, with its slightly patinated nostalgia, tells of the aftermath of 9/11 or the light-hearted attitude to life in the southern hemisphere. “The beauty lies in the confusion, let’s just let the mystery be what it is.” A good instruction that the loyal fans, who are thoroughly knowledgeable about the song material, gratefully follow. Delicate and eruptive passages always alternate, psychedelic twists follow James Bond-like sound cascades or dedicated mariachi trumpets. It is solely thanks to the knowledgeable band and the compositional genius of the two bosses that all these substyles do not evaporate into nirvana, but rather create a coherence that is completely enjoyable. Of timeless quality After more than 80 minutes of the extended main set, Calexico still come through a few encores on stage. “Fortune Teller”, played solo by Burns on an acoustic guitar, is misleading with its peaceful calm, a medley of life-affirming Latin sounds with accessible jazz sprinkles makes the hall shake. Valenzuela is so enthusiastic about a constantly moving box line-up that he keeps coming into contact with people. Musically beyond all doubt, Calexico also has a passion for playing and motivation. In the end, the band also puts their current last studio album “El Mirador” in the limelight, which stands as musical proof of the timeless high quality of the band. Now the only thing missing is the State Opera and the Musikverein – then Calexico will have played every noble location in the city. We would definitely like to see you again soon.
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