photo: Fr aser Stephen
To r o Y Mo i T h e A r t S c h oo l , g l a s gow
The live version of Chaz Bundick’s avant dance pop is a far more immersive and lucid experience than on record; in the spirit of any number of futuristic 70s funk bands Toro Y Moi’s live sound is a melting pot of loose-limbed organic instrumentation and dance grooves filtered through a sensory kaleidoscopic prism. There are a few barriers to full ecstatic dance floor release tonight in Glasgow though. Due to the odd stage shape, the band are huddled together in an almost perfect circle with Bundick, the ostensible focal point, awkwardly facing side on away from the audience. It’s an unsatisfying set up, which almost renders the audience privy to an exclusive jam session. The self-effacing Bundick is at pains to point out that the set up is down to necessity not any such rock star demands from himself. It’s fortunate though that his excellent band are a joy to watch as the switch from elastic funk jams and dance grooves to airy synth pop and back again. Much of the material tonight comes from this year’s ‘Anything In Return’ album, and highlights like the slinky, light on its feet glide of ‘Harm In Change’ and the airy qualities of opening song ‘Rose Quartz’ set the mood well. The band keeps up the dynamic between upbeat tracks aided by an excellent light show and languorous pieces like the delicate ‘Touch’. There is a nagging sense of something missing though. The audience seem reticent to truly let go. The second half of the set sees the band becoming ever more lost in their own swirling sound. By far the best number of the night is a wonderful elongated version of debut album highlight ‘Still Sound’. As the bubbling groove takes on a life of its own the vibe changes perceptibility, most people are unable to hold back any longer. Ultimately, resistance to the beat and to the rhythm is futile. (Martyn Young) 75