Beirut bring their Balkan-Mariachi blend into the 21st century with an electrified update

2011’s The Rip Tide marked a turning point for Santa Fe, New Mexico-based Beirut’s beloved Balkan-folk-meets-Mariachi band aesthetic. Bandleader, multi-instrumentalist and Irish tenor Zachary Condon made the transition into a popified embodiment of his trademark style praised in 2005’s Gulag Orkestar and more fervently so in 2007’s The Flying Club Cup, this time incorporating more synths, electronic effects, and easily-accessible melodies all around.

Despite having moved in a somewhat more conventional American pop direction, Zach Condon’s Beirut has not forgone its Euro roots and endearing orchestral approach. The brass section always provides a full-bodied sound to swathe Condon’s modern-classic vocal delivery, enriching each song with as many layers of sound as Condon builds up layers upon layers of his own harmonies.

The ukelele, mandolin and accordion make frequent appearances, as well, cinching the pluralistic nature of his stylistic influences. As seems appropriate for a well-traveled American, Condon’s musical vision is one embracing and compounding folk styles from some very different places in the world from an admiring outsider’s perspective, and harmonizing them in a sphere independent of geographic differences or limitations (just how often do you see French and Mexican culture come together?).

The last time Montreal hosted Condon and his diverse near-orchestra accompaniments was Osheaga 2011 – a full year later, and they have quite literally come full-circle. Pop-friendly electronic additions notwithstanding, their live performance still promises new and ever-charming live renditions of old favorites and new developments.

Beirut
July 16-17 | Metropolis
59, Ste. Catherine E.
with Little Scream
beirutband.com