The Dodos

Getty Center - August 8, 2009

Live Review and Photograph by Amber Henson

To make sense of this review, you must understand where I was when introduced to The Dodos.  A friend of mine had been inviting people to accompany her to an ongoing music series called “Saturdays Off the 405” (the 405 being the major LA freeway next to the Center).  This particular weekend I joined her and was quite pleased with my decision.  Although I was weary from the parking situation, I soon found myself picnicking with friends in a grassy area, surrounded by amazing architecture and a view of the faraway ocean.  After imbibing some smuggled wine (okay, more than some), I was ready to pack it up to go watch The Dodos perform.

The open courtyard where the stage was set up was quite packed, and many people had been standing near the stage well before the performance to get a good view.  The area was lit well with lots of colored lights, the band was energetic, and the weather pleasingly cool.

Unfortunately, it seems the acoustics of The Getty Center’s courtyard turn indie bands into Radiohead wannabees.  I knew that The Dodos don’t sound like OK Computer-era Radiohead.  I’m listening to them right now, and I’m not hearing what I heard then.  But the entire show was like some sort of weird tribute to late '90s Radiohead.  It was rather off-putting and very strange to find that The Dodos + Courtyard = Radiohead.

Their single, “Red and Purple”, was played close to last.  When they were finished, they briefly left the stage, but then came back on within minutes for a two song encore.  Meric Long and Logan Kroeber were entertaining, and Keaton Snyder, barely visible in the back, was a welcome addition on the vibraphone.  There was a lot of energy on stage, and a definite feeling of community.  The colored lights lit up the stone walled building behind them, and in their black clothes, as the sun went down, they looked like magical shadows cast against the museum.

Their new album Time to Die sounds pretty awesome (and well it should, being produced by Phil Ek, who has worked with The Shins and Fleet Foxes, to name a couple).  It just doesn’t sound awesome outside.  Try to catch them under a roof.