Photos & review: Lance Webber
The burning of incense. Dancing and disrobing. Ears taped shut. Sweat. Wailing. Whispers. Tensed biceps and a committed, distant gaze. This is the poetic landscape of an Oxbow show.
Although I was once immersed in California’s ’80s punk scene, and a fan of many 90’s bands coming out of this same tribe, it oddly took me time to fully grasp Oxbow’s genius. Known for their unique blend of post-punk and art-noise, their music resonated with me only after years of casual listening. Eventually their sound struck a chord with my own musical sensibilities.
Emerging from the early ’80s South Bay punk scene, Niko Wenner and Eugene Robinson, of Whipping Boy fame, sought a new musical vision with Oxbow. With Dan Adams and Greg Davis completing the lineup in 1988, the band marked a departure from their punk roots. Oxbow’s music over the past four decades reflects a deep dive into their collective psyche, manifesting in a sound rich with complexity and raw emotion. Eugene’s voice acts as a conduit, channeling both passion and agony into a force that grips listeners with a physical intensity.Oxbow began their set with “Cat and Mouse,” a track that reached back to the early ’90s, setting the tone with their distinctive mix of dissonance and beauty. Eugene waited until the noise of the first song came to a sudden halt, then nonchalantly stripped to his essential attire atop the drum riser. Left in only his boots, leather vest, and tight skivvies, the front man continued to deliver a performance filled with intense vocal power. By reading the crowd’s awestruck gazes, I could tell these folks were ready for the experience that awaited them.As the set progressed, Nico and Greg dived into “Dead Ahead,” a track from their latest album Love Holiday.
Dan anchored the performance with his bass, effortlessly navigating the fretboard, playing in perfect in sync with Greg’s precise and forceful drumming. Eugene’s compelling stage presence, marked by rhythmic movements and vocal intensity, was hypnotizing, yet the band exhibited such cohesion that it made me want to pull my guitar out when I got home and start a new post-punk noise project with close friends.Mid-set, Eugene approached the stage’s edge, his presence magnified under the dim lights. He surveyed the crowd before seamlessly transitioning into “Lovely Murk,” the new album’s slow-tempo piece that features Lingua Ignota’s track of unique operatic screams. Closing with “Stallkicker,” the band maintained their intensity, the song’s deep tones and driving energy culminating in resonant harmonics that brought a coherent finish to the performance.
Throughout the set, with its intense vocal outbursts, delicate piano, subdued whispers, driving rhythms, and sexy piano and slide guitar, Oxbow confirmed their dominance in the art-noise genre without a gesture. The audience, lost in the music, affirmed this legacy. For me, after years of anticipation, finally witnessing Oxbow live was a profound experience that justified the long wait.
Setlist:
Cat and Mouse
Dead Ahead
Cold & Well-Lit Place
Lovely Murk
Bull’s Eye
Icy White & Crystalline
All Gone
Stallkicker
Lance Webber: Hailing originally from the once-gritty East-Side of Los Angeles, Lance Webber cut his teeth in the mid-80’s punk scene and has played and worked in the LA music scene for a majority of his life. Putting down his instruments and reinventing himself by picking up the camera, he started documenting the underground music scene in LA a half-decade ago. As a recent Phoenix area transplant, he quickly submerged himself in the Arizona music scene and says he already feels right at home. Watch out for this guy – his passion is contagious!
