I may have started listening to Yo La Tengo during the wrong time.  2000’s And Then Nothing Turned Itself Inside-Out was the first album of theirs I was exposed to, and what struck me most about the Hoboken trio was the achingly delicate manner in which they performed their tunes.  The record gave me the impression that Yo La Tengo traded almost exclusively in somber, contemplative balladry (and the occasional shoegazer anthem).  Every word sung and every note played sounded imbued with an endearing inhibition—the musicians hesitantly wrapping their tongues and fingers around these heartfelt songs that were almost too personal to share.  So it was with great astonishment that the psych-rocking juggernaut I witnessed performing a thunderous set at the Avalon on October 15 was in fact Yo La Tengo.

Gone was the slight quiver in their voices; there was absolutely no trace of the timid deliberation of their performances on And Then Nothing….  This was a confident band that sounded like they could compete with My Bloody Valentine in offering the most sonically visceral experiences in concert.  Ira Kaplan and James McNew alternated playing keys, guitar, and bass—the two wreaking havoc on whatever instrument was in front of them.  During “Periodically Triple or Double,” an uncharacteristically funky standout from the recently released Popular Songs, Kaplan played what may have been the most sinister, ear-piercing organ solo I have ever heard.  Georgia Hubley pounded propulsive beats with reckless abandon while maintaining a great degree of finesse.  Each member contributed their unique vocal stylings to the set while often harmonizing to genuinely gorgeous results.

Yo La Tengo also demonstrated how incredibly dynamic their band can be, with sections of the show ranging from long-form ambient noise pieces to summery pop tunes to a tender acoustic mini-set.  Watching Kaplan and McNew joyously manipulating the swelling sounds of their keyboards and guitars with heavy delays and effects processors was oddly engaging, although the crowd arguably responded most enthusiastically to their string of acoustic numbers.  The intimate, quietly powerful songs featured McNew on the 12-string acoustic, Kaplan playing chorused out guitar leads, and Hubley challenging Mo Tucker for the title of best singing female drummer in rock.  Popular Songs’ “If It’s True”—a sugary Kaplan/Hubley duet that unapologetically borrows its intro from The Four Tops’ “Sugar Pie Honey Bunch”—was introduced as the most “straightforward pop song [they’ve] ever written.”  Before launching into it, an audience member implored the band to play more fuzzed out jams, to which Kaplan responded, “We’ll get around to the noise later.”  Only a veteran band as self-assured as Yo La Tengo could cover such a wide spectrum of stylistic approaches without losing the patience and adoration of their audience.

—Amorn Bholsangngam