Coming off of the latest Tame Impala album, Deadbeat, singer Kevin Parker is learning to embrace opening up during this phase in his life. In support of this fifth studio album, the six-city US leg of the tour gave audiences an opportunity to feel its tracks the way it was meant to be experienced: live and in person.
The performance in San Diego was filled with a stunning stage production, immersive, escapist music, and Parker’s trademark humor. Both longtime fans and new listeners enjoyed the varied setlist that includes top hits from his beloved discography, ranging from Currents to Lonerism. Fans of The Slow Rush and InnerSpeaker even had a few tracks within the set.
Perfectly timed fireworks coming from SeaWorld, just a short distance from the Pechanga Arena, surprised attendees as the night began with a literal bang. November 9th was an unmissable night, and it felt as if all of San Diego County descended into the sold-out arena hall. Fcukers ignited the crowd and gained a new following after the early audience danced to their bass-heavy electronic tracks.
A short while after 9PM struck, the stage went completely dark as Parker and his supporting tour members walked up on stage with their instruments ready. Hearing the familiar tune of “Apocalypse Dreams,” the arena erupted into loud cheers as the lasers and lights amped up the energy further. However, the floating lights would half obstruct the view for people in the stands and terrace areas since they would hover just above the band’s heads. Thankfully, the bars of stage lights would rotate and tilt throughout the show, creating interesting angles and an atmosphere of dreamlike wanderlust.
As the singer began to sing the lyrics to “Borderline” and “Dracula,” fans let out a sigh of relief as Parker seemed to have made a full vocal recovery. He’d been sick during the New York stops, and even posted a story with two of his prescriptions. Touring while sick can be taxing and intense, especially when Parker is a multi-instrumentalist with a tour that rests squarely on his shoulders.
Surprisingly, for a tour that is meant to promote Deadbeat, a twelve-track album, only eight of them were played during the main set, with two played during the encore. There was a noticeable shift in reaction when Tame Impala played the fan favorites compared to the slower, more electronic songs from the newest album. But the audience would warm up to the characteristic, self-deprecating songs they’d previously overlooked because of the live set. The concert mix adds in other elements—such as drums and electronic synths to “Elephant”—that can’t be found in the album recording, and breathes new life into his older discography, as well.
“I’m going to need a second to talk to you guys. San Diego, it’s nice to be back,” said Parker. “They said it was going to be cold, but we brought the heat! Last time we were here, it was a vibin’ fucking show. But I reckon we can go better. All you have to do is make as much noise as you want!”
The singer has undergone a personal transformation, warming up to the crowd and interacting with them in a more intimate way than he did on his previous tours. Having a circular stage setup provided both him and the arena the opportunity to see different sides of each other while metaphorically closing the physical gap between them.
This was never clearer than the moment when Parker would decide to take a bathroom break (with camera in tow) while the rest of the band continued their instrumental of “No Reply.” He’d come back to perform on a secondary stage lit up by simple lamps, crawling over his setup to adjust the synthesizers for “Ethereal Connection” and “Not My World.” He laid on his back to sing these upbeat tracks, which mimicked an intimate living room jam session. Although there were critics of Deadbeat as more synth-heavy in contrast to older songs that were more instrumental-heavy (i.e. guitar, percussion, etc.), the crowd could see and feel the shift in his energy.
As he made his way back to the main stage for the next set of tracks from his ten-year-old album Currents, Parker received triumphant screams for “Let it Happen.” He prepped the crowd before the confetti canons propelled the paper bits into the air, taking the energy to new heights.
After a power track like “Nangs,” “Obsolete” would receive a noticeably calmer reception compared to the distinctive psychedelic rock beats from earlier in the set. Parker has explored new avenues and genres, which may take time for fans to get used to. House and trance music might not be what they’d expect to hear, but it’s a welcome change after four albums.
“Going to play a song just for you,” announced Parker. His special surprise turned out to be “Sundown Syndrome,” which was also played at one of the tour stops in Brooklyn. Yet, outside of San Diego and New York, Tame Impala hasn’t played this 15-year-old debut single since their festival performances in 2018. Whether or not you’re sold on the latest album, this revival of a rarely performed song is exactly why seeing a band on tour is a special occasion.
Continuing on to “Eventually,” which a fan at the barrier was excitedly jumping up and down for, Kevin optimistically delivered the uplifting lyric, “’Cause I know that I’ll be happier, and I know you will too” while bathed in angelic lighting.
Ending on the fitting and restless track “New Person, Same Old Mistakes,” the crowd sang in unison with Parker throughout. Complete with a laser show and confetti canon-filled ending, fans happily basked in the afterglow before the encore.
Before the lights went dim, the arena cheered for the encore. Of course, the entire band happily came back out to round out the night. Beginning the encore with “My Old Ways” under an orange spotlight, the vocalist played up the song’s dramatic beginning in order to lift off into the track’s infectious chorus.
Ending the show on the ambient and aloof “End of Summer,” the tone felt as if the group didn’t want to leave the venue as the outro continued to play. But just as Parker said, Tame Impala will be back to San Diego again.
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‘ Some details of this article were extracted from the following source www.melodicmag.com ’
