I walked in to a room with about twenty people when I heard a female voice in a British accent softly say, “we are Dark Furs” followed by the overdrive and aggressive guitar as they opened with the song, “Concrete Corners.” The performance left me in a dream-like state, not necessarily pensive, but excited. It was colorful, embodying every spectrum from dark to bright, which is the way I would describe Suzanne May’s voice as it covers a wide range in a swift, unpredictable, almost untamable way. Smoothly transitioning from forceful tunes, to the more jumpy songs that made the crowd walk towards the stage; suddenly there were a couple of dancers among all the “indie standers.”
This is what the concert looked like through the reverb
The performance started with some edge; rightly so it caught the attention of all the onlookers, and as the audience awkwardly approached the stage, Dark Furs quickly set the tone and took the shame away with much assertiveness. Each song offered more character and I sensed that the crowd got increasingly more engaged. The show got progressively dreamier as guitarist Chad Philipps, standing to the right, looking down, ominously pierced through chords with more delay. The show hit its culmination with the ballad tune “French Love,” it gave the concert its place in time as the guitar inhaled upwards and her voice exhaled through the venue. The synthesizer and drums rained over the melody making every right leg in the venue pulse against the floor.
Besides the minor technical mishaps that happen during small shows, the performance was captivating. The band really seems to focus on the music as a whole and no one instrument or musician stands out; they do a great job at removing the human element out of their performance. I highly suggest you to attend one of their shows and listen to their music, although there were four performers, Dark Furs sounded bigger than they looked.
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