The Art of the Unconventional: Experiencing Xiu Xiu Live and In Album

Few bands have the ability to create music that feels like both a confessional and a confrontation, but Xiu Xiu’s artistry does just that. Xiu Xiu performed in Montreal on October 18th, less than a month after releasing their latest album, 13” Frank Beltrame Italian Stiletto with Bison Horn Grips, marking another milestone for the California-based band that has been around since 2002. Using a mix of haunting melodies and experimental sounds, Xiu Xiu’s performance was definitely memorable; their set that night journeyed through complex and layered compositions that have become Xiu Xiu’s trademark, shifting from atmospheric to intense with seamless transitions.

The intermission music after the opening act, Picastro, finished their set was classical violin, featuring songs like Tabula Rasa: I. Ludus, which heavily contrasted Xiu Xiu’s performance. The music fluctuated from soft and lulling, to loud, pounding, and even angry, often within the same song. A captivating element was the act the guitarist and lead singer Jamie Stewart put on, moving his whole body by jumping, kicking, acting grandiosely and making dramatic gestures in key moments. His performance was even humorous at times, like when he pranced across the stage with an instrument on his head. It is also an extension of their music, which is very exaggerated and striking. The kind of music they create would be considered experimental, unconventional, even avant-garde as it mixes noise with pop sounds, which Xiu Xiu is no stranger to, as they have covered many songs from pop (and other) artists like Rihanna. 

In between tracks, there were meaningful pauses of silence, which were likely intentional, to make each song more poignant and moving. Interestingly, in these moments, the band interacts with the audience as they must also remain silent. When some concertgoers were speaking loudly during a beat of silence, they were called out and told by Jamie that if they were louder than them, they were too loud. 

The songs that stood out to me were the ones that had upsetting themes of sexual violence and evoked true, harsh screams from Angela Seo, vocalist and multi-instrumentalist. One track in particular stood out to me, Wig Master, which is on their 2006 album The Air Force, but blended beautifully with the rest of the set. It was performed very differently from the way it was originally recorded; it debuted with a vibrator being taped onto a cowbell, creating a rhythmic beating quite jarringly paired with the painfully loud and intentionally jolting sounds of the song. The song is likely meant to cause discomfort as it recounted a painful experience, and some lyrics were vocalizing disturbing thoughts, which certainly took me aback, but made it all the more enthralling! Some members of the audience were laughing probably out of discomfort, and others were plugging their ears as the music was noxiously loud, which again was intentional in getting the message behind the song across. The use of the vibrator as an instrument references a project Xiu Xiu did in 2015, where they taped 999 pink vibrators to a Danh Vo “We the People” copper sculpture, recorded different tracks, and named the album Kling Klang. 

It seems as though 13” Frank Beltrame Italian Stiletto with Bison Horn Grips is Xiu Xiu’s most exploratory and maximalist project to date, bordering on rock, but twisting it into something else entirely. This album reflects Xiu Xiu’s unique style, which is innovative, blurs lines and rejects simplicity. Tracks like “Common Loon”, which is very upbeat and vibrant, contest what we have previously seen from Xiu Xiu, which tends to be more melancholic and dark. Themes in this album touch on love, sexuality, and self-acceptance, which is not unheard of in their discography, but they have touched on much darker things like suicide and abuse. Drummer David Kendrick’s contributions bring new energy to tracks like “One Maestro Chord” and “T.D.F.T.W.” (The Devil Forgiven That’s Why), which maximize percussion and vigour, and contrast other tracks like “Sleep Blvd.”, which uses synth, and is significantly softer and dreamlike.

Watching Xiu Xiu perform live is less a concert and more a visceral experience; their willingness to explore difficult subjects, combined with their dynamic range of sound, made their performance a whirlwind of emotions that left a lasting impact. The interplay between vulnerability and aggression captures the essence of their artistry, inviting audiences to not only listen but to feel deeply. For anyone seeking a profound musical experience that challenges perceptions and evokes emotion, attending a Xiu Xiu concert is highly recommended.