Roy Jurgens on October 22nd, 2018

0

Imagine a Monet hanging in a sterile shopping mall. … Picture a Cézanne under glass in a plain aluminum frame. … Or a Gauguin on an easel in a poorly lit room.

This is what seeing Nick Cave at the Forum on Sunday was like. The art was sublime, the surroundings less than ideal. Certain artists deserve, even need, an aesthetic that invites the audience to embrace the artist. In its defense, the re-imagined and redesigned Forum is an exceptional venue for pop, hip-hop, big hat country and rock bands who roar through its cavernous space, but Nick Cave is about intimacy, and in this case the Forum is about as intimate and poignant as a Tinder hook-up.

In a city pockmarked with beautiful vintage theaters and legendary outdoor venues, the choice of the Forum was puzzling and ultimately motivated by greed. Interestingly, the show was not as heavily attended one might have expected, given Los Angeles’ affection for Cave. The floor section was two-thirds full at best. The slapback reverberating from the back of the arena was beyond annoying. It was as if they were attempting to make up lack of emotional depth with volume, which attempted to murder the subtleties of a fine Bad Seeds band, many who’ve been in Cave’s gang for years. Warren Ellis (piano, keyboards, violin, tenor guitar), Martyn Casey (bass), Thomas Wydler (drums), Jim Sclavunos (vibraphone, percussion, piano), George Vjestica (guitar) and Larry Mullins (keyboards, piano) create volatile weather patterns in which Cave swirls about. A peaceful morning breeze can be ripped apart by a thunderstorm within seconds, followed by a sun peeking its way from behind the clouds.

The show, the first of a four-date North American mini-tour, was in recognition of Cave’s latest release, “Distant Sky – Nick Cave & The Bad Seeds Live In Copenhagen”, a four song EP that was pulled from last year’s filmed performance in the Danish capital. 

Beginning with a whisper, “Jesus Alone” and “Magneto” saw Cave saunter about restlessly. “Higgs Boson Blues” punched in a bit of what was to come. Torch songs “Loverman” and “Red Right Hand” were interrupted by the old Bad Seeds standard “From Her to Eternity.” Cave kicked over a music stand, sending sheets flying across the stage as Warren Ellis clawed white noise out of his violin. Following that display came arguably two of the finest love songs ever written, “The Ship Song” and “Into my Arms.” Other highlights included the smokey bolero of “Jubilee Street,” as well as Cave’s standard audience participation number “Stagger Lee.” The set culminated in a stirring extended version of “Push the Sky.” The band returned for a short two-song encore and the house lights came on.

A look at the night’s setlist was telling and ultimately disappointing. Perhaps the band wasn’t feeling it. The Bad Seeds’ standard “The Mercy Seat” was listed yet not played. Nor was there a second encore of “Jack The Ripper,” “Skeleton Tree,” “Mermaids” and “Distant Sky.”

Nick Cave & the Bad Seeds is a band that people are passionate about, and while last night wasn’t lacking passion from the band or the fans, there was a noticeable absence of spiritual transcendence usually associated with his performances. 

Openers Cigarettes After Sex were similarly overwhelmed by their surroundings. That said, they were clearly pleased to be opening for an artist of Cave’s stature. The ambient alt-rock Texans’ set was essentially soundtrack music while several thousand Angelino hipsters bumped into friends they hadn’t seen in a while.

Photos by Andie Mills