Puppet to the Man - Review of Kurt Vile at Newbury Comics

_{The Peeping Tom strums his guitar in the Ghost Town off Newbury. (D.Hixon Photo)}

Kurt Vile
Newbury Comics, Back Bay, 03/01/11

There's something about Kurt Vile. Ever since 2008's Constant Hitmaker his music consistently has nestled itself between my headphones, making for an adept soundtrack as I meander about Boston, getting lost in whatever thoughts are pertinent at the time. Much like a favorite t-shirt that finds its way into your wardrobe, you instinctively wear it until the thread's worn thin and perfect. Such is how Kurt Vile's music has been for me - it's seeped into my daily existence without realization, and slowly has become a favorite of mine. This past Tuesday I was able to see Kurt perform at Newbury Comics in the Back Bay, just as the sun was setting.

You can't expect too much from in-store performances as there typically is an off-kilter vibe clinging about. The lighting is fluorescent bright while the instruments and equipment are shaved to a naked state. It's far away from the smokey clubs where alcohol and marijuana linger with the buzz of an impending show. For the most part it's a stale and awkward environment, with little or no room to maneuver for both the artist and fan alike. This was the case on Tuesday, however, it seemed to strangely fit with the music played by Vile, and for 45 minutes or so it was as intimate as a bedroom jam.

Kurt took the modest "stage" in the back with only his guitar, some peddles, and an amp. Various wires, picks, and capos were stored in what appeared to be a repurposed retro make-up kit, located off stage right - and as he tuned his guitar I was overcome with a voyeuristic feeling. I felt like John Belushi perched high atop the ladder, peeping into the exalted inner workings of a sorority bedroom. Kurt began with "Hunchback", the opening track from 2009's Childish Prodigy, and at first it was difficult to to recognize the tune. But it was there, in it's most barren and skeleton form - beautiful. You could tell Vile was uncomfortable with the whole situation, and was flanked by towers of CD's while 30 fans listened with strong intent, crammed between the aisles of commerce.

There were only four or five times I actually saw the whites of Vile's eyes, and for the majority of the set he played behind the security of his long straggled hair, which flowed over his face in an arc of protection. He admitted that since this was the first in-store appearance for Smoke Ring For My Halo we were getting him at his most raw, and in the end that's what made the brief time spent fulfilling. At first he stumbled with the guitar, missing a note here or there, all the while playing a little too soft for feeling. But by the time the show was over, he had forgotten how uncomfortable the situation may have been, and fully retreated into his music, much to the delight of those present.

Vile seemed most comfortable playing songs off his new album, Smoke Ring For My Halo, and songs like "Jesus Fever" really showcased his unique guitar ability. Often times people write about Vile's strength as a songwriter, which I also firmly stand behind, however - I think there's a certain amount of broken soul to his guitar playing that I've only really heard on solo efforts by Thurston Moore (See: Trees Outside the Academy). Between the haunting reverb tone kept throughout every song, and his inner wrenching vocal delivery, I suddenly found myself wearing that favorite t-shirt, and getting lost in the music as well.

Kurt will be back in Boston at the Brighton Music Hall on March 26th, opening for J Mascus of Dinosaur Jr. fame. This time flanked by his band The Violators instead of stacks of CD's, where the lighting's guaranteed to be just right, and the volume much louder.