Khruangbin has gifted their fans with Live at Sydney Opera House, an 80-minute hypnotic journey transcending their eclectic sound into an effortless, ethereal blend.
Khruangbin infuses genres that range from funk to groove to soul, psychedelic to surf rock, primarily influenced by 60s Thai funk and Iranian music, to name a few. The ability to weave genres fluidly has become the band’s fabled sound, providing listeners with a full sensory experience. Mark Speer offers intricacy on the guitar yet never overpowers, creating a platform for none other than Laura Lee, who takes command of the bass so much that you feel it in your chest; it’s utterly profound and a Khruangbin trademark. Then Donald “DJ” Johnson on drums delivers the tightest, punchiest beats with impeccable timing. Together, they’ve created a catalog that is just as vibrant as it is mesmerizing.
Khruangbin set out on their most ambitious tour, stretching from July 2021 until nearly 2023. It marked the first time they could gather with fans after enforced isolation and globally shared tragedy. United energy exchanged, absorbed, and immersed through live music; at last, Khruangbin described this tour as spiritual and especially meaningful. To commemorate, they released a series of four live albums from the tour, only to surprise fans with a fifth album that would bookend the band’s way of celebrating this experience.
The fifth album curates Khruangbin’s three-night, sold-out run at the Sydney Opera House. The first single was dropped in October; an epic 8+ minute odyssey of “People Everywhere,” the band goes off. Upon first, second, and third listen, and so on, they thrust listeners into the heart of the pit where the audience’s energy is visceral, for good reason. Fast forward to Dec. 1st, and we have the full album.
The band dives smoothly into The Infamous Bill, an EP from 2014, the early days, back to back with “The Number 3” and “The Number 4.” Lee on bass is especially felt, and we’re grooving. From there, it’s an album crossover medley. Con Todo el Mundo’s “August 10” meets The Infamous Bill’s “Master of Life,” a supportive transition for Khruangbin to bring forth their lighter, dreamier, airier songs like “White Gloves,” Oh beautiful, beautiful “White Gloves.” Steer and Lee’s vocals hit differently than the studio version; melancholy washes over, an evident sense of longing.
Other dreamy songs that stood out were “Shida” and “Friday Morning.” With “Shida,” there’s a warmth in the slightly haunting elements. With “Friday Morning,” there’s undoubtedly a gentle ease. We’re halfway through the album now. This is where Khruangbin may lose new listeners, and I see no issue with that. An album of this length can be intimidating to anyone. For Khruangbin’s established fans, though, this stretch is cosmic and tender and sets us up for the ultimate climax.
“Lady and Man” brings us to the start of a crescendo, which builds to “Maria También” and “Time (You and I),” both irresistible with emphasized rhythm, can feel the masses, harmoniously dancing, riled up, just in time for Khruangbin to blow the lid off with their voyage of People Everywhere. Over 30 minutes, this build-up, this payoff, Khruangbin, thank you, that is all. “A Calf Born in Winter” follows and aids as the perfect come-down space to get lost in a comfortable daze. Intuitively, it feels like the album is about to end, the band bringing us full circle with the song that introduced them to the world. Although “Zionsville” closes out, and while I love this album, that took me out of the moment. “A Calf Born in Winter” was earnestly the soft hands that held me after this sonic journey, leaving “Zionsville” to feel tacked on.
As a whole, Live at Sydney Opera House is dynamic. If you allow for it, the world around you will blur, and your body will dissolve; it is a ride that flows and is the epitome of the effect that Khruangbin’s music has. I couldn’t be more pleased with this album, knowing that it is backed by each member’s sentimental energy, where listeners can sit and be.