Tame impala let it happen live
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“Elephant” and “Apocalypse Dreams” were the obvious standouts and crowd-pleasers of the night, as far as theatrics go. The album was released in February of 2020, just one month before the world went on COVID lockdown, making for a quickly postponed Slow Rush tour.Īs much as seeing Tame Impala live is a concert, it’s also a light show. The packed set kicked off with “One More Year” and “Borderline,” the first two tracks from their most recent album, The Slow Rush. As part of their “Phase I Clinical Trial” gimmick, people could buy packets of the “drug” (a sugar pill) at the merch tents for two dollars. “Be advised that Rushium’s effects range from a minor expansion to large time collapses staged within memory and the effective present.” As the demonstration continued, her face and speech became slowed and blurred on screen, as if the crowd was already feeling the effects. As the lights dimmed, signifying the beginning of the set, the big screens rolled an informational video from a representative of AionWell, the fictional company that created the band’s new trippy mock pharmaceutical drug, “Rushium.” The drug is “an experimental new time therapy treatment in liquid and pill form,” she said. My guess is that the interpretation for this video came from the song title itself, “Let It Happen.” Wilson stops short of guessing what happens on the other side of the portal, and is instead telling a story of acceptance, and the way the horrible anxieties that define our waking lives can slip away in an instant-and that when we relent, we might find peace.Tame Impala returned to Los Angeles on November 2 for the first time since the pandemic began, performing day one of their two consecutive sold-out shows at the Hollywood Bowl. Finally, there’s a sense of tranquility as he falls through the sky, and he realizes that he’s not truly falling, but flying toward a source of light-a portal in the clouds. Only when the paddles on the airport floor fail to revive him, and he slips closer to death, does he slowly begin to accept his fate. The scene of his collapse returns, and gives way to more bizarre hallucinations-a talking sandwich, a plane crash that none of the other passengers seem to notice, and finally a free-fall through the sky. The man sits on an airplane, but doesn’t know how he got there the man wakes up to an alarm clock in a depressing hotel, puzzled the man plunges his face in water and takes his pills, but he doesn’t feel better. The ensuing visuals, at least initially, serve to heighten the unease. The man collapses with a heart attack, and my interpretation of the video is that everything that follows can be seen as the hallucinations of a dying man. It’s a feeling of unhappy claustrophobia that’s somehow related to bodily death, which is the next theme to emerge.
#Tame impala let it happen live windows#
The setting is dominated by gray, from the ugly carpets to the monotonous chairs to the industrial windows separating us from the freedom of the outside world.
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The camera hones in on the actor’s face, which is a mask of panic-a visceral, sweaty kind of discomfort native to air travel. Immediately, Wilson establishes an atmosphere of deep anxiety as a man in a suit sprints through an airport to catch his plane. The video for Tame Impala’s “Let It Happen,” directed by David Wilson, is the year’s best example of an artistic music video. And while most finished products are fairly forgettable, it’s always gratifying when something beautiful is created. Instead, it’s more of an abstract connection-the director translates the emotions of the song, rather than the lyrics. When you think about it, music videos are a strange genre that comes with a loaded question: How do you interpret a song? Most modern songs don’t tell a linear story, so it’s not like the musician or director can follow a script. Is it fair to ask for artistic depth from a music video? Maybe not-maybe it’s only reasonable to demand entertainment.