Mac DeMarco at 7th St. Entry, 6/23/14
|Photo By Mark N. Kartarik|
with Calvin Love and Meatbodies
7th St. Entry, Minneapolis
Monday, June 23, 2014
Early on, Mac DeMarco promised the sold-out Entry that he would make up for the show he had to cancel here last summer. He is a man of his word. A strong 70-minute show got better as it went on, with the performance ending with DeMarco hanging from the rafters and getting the crowd to collectively kneel while he covered Neil Young.
Backed by a three-piece band -- Pete Sagar on guitar, Pierce McGarry on bass, and Joe McMurray on drums -- and a host of friends and cohorts there who invaded the stage to lend their support, DeMarco delivered an entertaining set that had the exuberant full house dancing along to his short bursts of relentless optimism.
DeMarco's music isn't necessarily groundbreaking, but it strikes a euphoric chord. The floor was awash with dancing bodies and random crowd surfers for the entire show. Part of the appeal is certainly the laid-back charm of the 24-year-old DeMarco himself, who is having as much fun on stage as the audience is in front of him.
There is an everyman allure to Mac and his music, where his fans can acutely identify with his sprightly songs and his youthful narratives, as well as the person creating and performing them. No matter where the connection stems from, the bond between DeMarco and his fans is a tight one.
|Photos By Mark N. Kartarik|
The set got off to a lively start with "Salad Days," the title track to DeMarco's highly revered new record, prompting the audience to sing along to its earworm chorus. After "The Stars Keep Calling My Name," "Blue Boy" slowed things down just a bit with its modern twist on the traditional jam-band sound. A song as nondescript as "Blue Boy" taken on its own could cause one to wonder just what all of the fuss is about with DeMarco, but then he gives a rock 'n' roll benediction to those fans in the front, with repetitive offerings of "bless you child," and you can't help but be won over.
There were elements of Pavement layered within the ramshackle jams of "Treat Her Better" and "Ode to Viceroy," along with touches of Parklife-era Blur in the keys-fueled "Passing Out Pieces." But some of those touchstones and influences might have been lost on the younger audience who lionized DeMarco as if he invented rock music himself. "Viceroy" is a relatively chill number, but to many fans in the club it appeared to be the anthem that gets them through their day or their interminable shift at a shitty job. It's become more than just a song, and when DeMarco and his band offered it up midset, the club responded by singing along at the top of their voices, reinforcing their passionate ties with him.