There was almost a strange sense of déjà vu as bodies filed into The Hollywood last night in order to witness the one and only La Dispute. The final night of a thirteenth month long tour, everyone knew this would be something special, just like it was three years ago when the band from Grand Rapids, Michigan finished their tour in exactly the same place.
Having heartbreakingly having to cancel their show in Wellington due to weather conditions diverting their plane to Christchurch (ah Wellington, you can be such a tempestuous wench) some dedicated fans had made their way up the North Island. A hunger rippling through the audience as the lights began to dim and drummer Brad Vander Lugt settled in behind the kit.
As the rest of the band filed out, exaltations of love and joy filled the air, Jordan Dreyer, mic in hand nodding toward the front row in his long sleeved shirt and dress pants looking reminiscent Ian Curtis in his heyday of Joy Division.
Launching straight into I Shaved My Head from their latest album No One Was Driving The Car released last September, the title of the record was inspired by a quote from a police officer who attended a fatal self-driving Tesla car crash in Texas. This quote set Dreyer into a creative exploration of themes that involved systems of control, technology, and most importantly personal responsibility.
Following it up with another track from the same album Man With Hands And Ankles Bound and Dreyer had already paced his way through a half marathon, his animated style of performance seeing him traverse every inch of the available floor space on stage, dance moves and crouches sprinkled throughout. It is endearing and speaks of an urgency, a desire to get the words out, to speak truths that need to be spoken.
To his left guitarist Corey Stroffolino was a whirlwind of hair, bassist Adam Vass and fellow guitarist Chad Sterenberg taking a more stoic approach to their playing on his right, the members naturally creating a half circle to allow Dreyer the room to express himself through not only his voice but his physical being, a huge part of what makes La Dispute’s shows such a must see live.
The Most Beautiful Bitter Fruit from many a fans favourite album Wildfire saw the front rows matching Dreyer word for word, his slam poetry, post-hardcore style of delivery intoxicating; it draws you in, you want to hear the words he is professing, you want to understand.
And therein lies the one small criticism of last night’s show; the sound mix was just a little off. While the band sounded incredible, they at many times drowned Dreyer out, calls for “turn up the mic” heard from more than a few down front during a small break between songs.
“Thank you for taking care of us” Dreyer addressed the audience with reverence; speaking of how it had been a very long thirteen months of touring, his gratitude for the reception of the latest album and the sheer turnout at their last show in a country they love written across his face as he held a hand to his chest.
Scenes From Highways 1981-2009 took the audience back to their 2014 album Rooms Of The House, an album written in a cabin in the upper peninsula of Michigan, some of the proceeds from its sale going towards benefitting causes for the advancement of youth in art and music, which speaks very much to who the band are as people.
Following Sibling Fistfight At Mom’s Fiftieth/The Un-Sound again from their latest release, a beautiful narrative track that explores the volatility of ordinary life through the passage of time and the complexities of family, Dreyer softly said “a love song” before performing Woman (Reading) a composition that builds beautifully into a crescendo that echoes in one’s heart.
King Park unsurprisingly was the catalyst for the loudest and most fevered sing a long of the evening, that iconic line of “Can I still get into heaven if I kill myself” screamed back at Dreyer by the audience with every fibre of their being. It is a heart wrenching tale based on a 2008 shooting in Grand Rapids; the emotional weight of the song one that hangs in the air long after the music has ceased and a reminder of how a moment in time can change the trajectory of so many peoples lives in an instant.
A short intermission if you will, occurred as gaffa tape was used to do some rudimentary repair work on Dreyer as he joked about how this far into his career his body doesn’t hold up as well as it used to and to give it up for his medic, who wasn’t really a professional medic but had learned a specific skill set from many years on the road.
Autofiction Detail concluded with Dreyer delivering the powerful lyrical refrain at the end of the song, those in attendance almost collectively holding their breath as his words washed over them, before The Field filled the room, a song from their latest album that sees a rather interesting sonic shift for the band as it incorporates a sludgy, doom-laden riff that channels Black Sabbath with its down-tuned guitars and bass to the front.
At this point Dreyer took a moment to speak of the importance of spaces such as The Hollywood (an independent and historical cinema that can also host live music events) where people have a place to express themselves and their art. A space where they can express their emotions and their anger at their own suffering at the hands of a world that is tearing itself apart. Communities and human things matter.
“Do not be told what defines your value” no truer words had been spoken.
An advocate for trans rights, human rights, the freeing of Palestine, the words poured from Dreyer as a floodgate opened, and he tried to express as much as he could in a few short moments. And every single word uttered, resonated deeply with those standing before him. It gives one hope for our future when standing amongst others who feel the same.
Heading towards the finale of the show tracks such as Woman (In Mirror) and I Dreamt Of A Room With All My Friends, I Could Not Get In, led into the very popular Andria, before Dreyer once again spoke of how grateful they were for the kindness of strangers (referring to how people in Christchurch had picked them up and looked after them) and how we need to look out for each other. Thanking their crew emphatically, especially Kirk Harrington the honorary sixth member of the band, and their long-term manager and close collaborator, Dreyer spoke of how running away to hide just to do an encore was silly, so they would play two more songs, one long one short, one was new, and one was old.
Environmental Catastrophe Film is an epic, nine-minute, three part song which acts as the emotional centre for their latest release, the track interconnecting several histories that are personal as it explores themes of pollution, mortality, and time. An absolute beast of a song and incredible to witness live.
In a complete juxtaposition, La Dispute finished with one of their shortest but most beloved pieces; Such Small Hands seeing the second biggest sing a long of the night, Dreyer holding the mic out to those in the front row to shout key words as he and the rest of the band gave it everything they had in those last few moments, before bringing Kirk onto stage to take a final bow with them.
To quote a previous review of this outstanding band who hold a stage presence and deliver powerful lyricism that many could only dream of ever attaining;
Life IS hard, so find your people; shelter, and protect the marginalised and those in need, build communities and above all be kind to the ones around you.
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La Dispute End a Thirteen-Month Tour in Raw, Heartfelt Style at The Hollywood in Auckland – Red Raven News
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