Zach Condon breezes on stage before the sold-out audience with his shirt-sleeves rolled up and smiles as he takes his spot in the center. To either side of him are the five other musicians who make up the current line-up of Beirut, sharing amongst the six of them about a dozen instruments, but this one-time solo bedroom project remains clearly Condon’s band and he looks comfortable in the starring role.
Beirut’s distinctively lush and exotically-influenced style is recreated beautifully live. One notices early in the set that Condon really, truly sings more than the average male indie vocalist – and when he does it is stunning. Presumably honed by years of projecting out over the massive crowds on the European festival circuit, he fills the Black Cat with his voice. When not singing, he alternates between six-string ukelele and trumpet and, at one point, switched to piano.
There is a sophistication to the whole band’s performance that set it apart. There is a trope in concert reviewing to describe musicians as having “raw energy” or “blistering power.” That is not Beirut. Which is by no means to say they lack emotional intensity or seem unenthusiastic about live performance. Instead, the band simply seems rehearsed – not surprising given the time they have spent with the majority of the night’s songs at this point – and genuinely musically proficient and talented.