October 2013, 40 Watt, Athens, Ga.
Wild hair flowed in all directions from underneath his baseball cap, joining the sizable beard pushing full from his face. His eyes, usually distinct, were shaded by the cap’s brim.
Under different circumstances, the man would be unrecognizable.
But there was the guitar. Then the chords. And the voice. When his opening words “Two-Headed Boy” erupted from the stage, there was nothing mysterious about the man who hides himself from the world, certainly not to this crowd. By the time the song moved to “The Fool” — a calamitous joy of accordions, horns and drums — a revival 15 years in the making was in full force. As the applause settled, a distinct cry came from the din.
“Welcome home.”
Indeed.
Yes, Neutral Milk Hotel’s return to the 40 Watt was a stunning show of exceeded expectations, but really, that misses the point. The night proved transformative and shocking — like witnessing a comet explode in the ocean. There was a sense at times it wasn’t real — when the lights dimmed to denote the show was starting, nothing happened for a couple of minutes. The crowd stirred noisily in anticipation, until Jeff Mangum walked quietly on stage to a wall of sound.
I guess you figure after 15 years, what’s another five minutes.
I saw Mangum in early 2012 for a solo show at the Watt, joined ever so briefly by Laura Carter and Scott Spillane on horn duty. It was great, but nothing like this. Having the band together was electric — the addition of Julian Koster and Jeremy Barnes brought a pulsing life to each tune. “Holland, 1945” is a fine song solo on acoustic, but with the pounding bass, overt horns and driving drums, it’s a racing heart attack of sound.
The setlist would take liberally from both In the Aeroplane Over the Sea and On Avery Island — though Aeroplane songs were met with more enthusiasm. Yet hearing “A Baby for Pree,” “Gardenhead/Leave Me Alone” and “Song Against Sex” from Avery Island were a treat — these are not the live songs one finds easily on YouTube clips.
Of course, there are few musical moments as entrancing as hearing a packed barroom of people yell “I love you Jesus Christ” near the midnight hour. Or seeing Koster master the singing saw during “In the Aeroplane Over the Sea,” which no one can convince me isn’t one of the finest songs ever made.
On his own, Mangum captivated as well. “Oh Comely,” an eight-minute opus of rising and falling tempos, proved a show-stopper, as the song’s quiet moments brought the usual noisy Watt into stern attention.
The encore exploded with Aeroplane’s “Ghost” and “[untitled]” before it was Mangum left alone for “Two-Headed Boy, Part Two,” a song I could see live on a constant loop and never grow tired. Koster, Spillane and Barnes returned to join Mangum for “Engine,” the 7-inch B-side of “Holland, 1945” for the night’s final song. “One more song,” said Spillane. “It’s the 40 Watt.”
Never much one to talk, Mangum was engaged probably more than he’s ever been while gracing the 40 Watt stage. Following “King of Carrot Flowers, Pts. 2 & 3,” he looked out in wonder. “You guys are really blowing our minds,” he said. “Thanks so much for coming out.” Right back at you Jeff. And next time there’s no need to wait so long.
