On Friday, Nov. 5, indie band Turnover kicked off the first date of their tour at Brighton’s Roadrunner for the release of their latest record, “Myself in the Way.”
The room was filled with a sizeable, youthful crowd eager to immerse themselves in Turnover’s newly adapted sound. The anticipation has been building since the Virginia-based group rolled out five tracks off the project over the summer. The singles’ debut made apparent that Turnover is elevating their style from traditional indie to Funkadelic fantasy.
That being said, Turnover’s signature elements remain – poetically emotional lyricism, softly cushioned vocals and a mix of lulling instrumentals within the ample, yet subtle details. The album is heightened with dissonant intricacies and fleshed-out grooves that make for a natural evolution of the band’s sound.
“This is a record about home and feeling lost, fear and love, freedom and safety, friendship and introspection, rhythm and space. So happy to finally share it with you all today,” the band wrote on Instagram when the album was released, a day prior to the show at Roadrunner.
The show warmed up with three opening acts. Horse Jumper of Love, Yumi Zouma and George Clanton each performed individualistic sets that complimented Turnover fittingly. George Clanton in particular riled up the audience with his wide-spanning synthesizers and resonant vocals. His energy helped infuse the crowd with an excitement both through his vaporwave sound and aesthetic, as well as his personal humor.
After Clanton’s 45-minute set, Turnover was met with much excitement. The band took their places on stage to “Myself in the Way’s” opening track, “Stone Station.” It began with a nostalgic 30 second instrumental peppered with ambient synths. This was represented visually by the ever-changing colors on the backdrop behind them along with cool-toned lighting. Moving swiftly into “Tears of Change,” a mystifying tone was cast over the room. Straying from the studio version, the relaxed guitar solo was a controlled but moody additive that gave more color to the track.
The title track “Myself in the Way” picked the energy right up in all its disco-centric glory. It tastefully intensifies the concept of personal anxiety in the face of love: “Can’t put myself in the way of love again,” lead singer Austin Getz asserts. The metallic automation, one key distinction of the group’s new record, was also brought to the stage particularly with this track.
Synonymous with Daft Punk, the automation continued to stay refined and translated consistently to the audience. Lead guitarist Nick Rayfield’s playing highlighted the overall funkiness and kept the rhythm on its toes. This, combined with an overlay of bright violins and the playful drums of Casey Getz, made for an utterly glamorous and dance-worthy performance that elicited a celebratory response from the crowd.
“Humming,” from Turnover’s 2015 album “Peripheral Vision” followed thereafter. The overwhelming feeling of infatuation that Getz sings of was amplified on stage through the band’s energetic performance. Getz’s chorus was matched with the crowd singing it right back to him. This often occurred throughout the night as the group chose a balanced set that included both their new project and the older material that propelled them into the indie scene.
“What Got in the Way” and “Pure Devotion” settled back into the tender, dreamlike nostalgia of their 2017 album “Good Nature.” As they wove in out of their past era, I was struck by just how nuanced their projects are while still remaining in a similar vein, an individualistic quality that is hard to come by in music. “Mountains Made of Clouds,” a track from the band’s newest record, is still reminiscent of “Good Nature’s” tone, with its charming blissfulness and vast portrait of nature’s beauty. Yet, Turnover took this sound and let it ride on a synth-driven roller coaster into their latest, fresh sound.
“Ain’t Love Heavy” and “Fantasy” from their new project upheld the fluttering euphoria of the album in real time. Turnover’s latest grooves are chock full of details – futuristic synths, a yearning violin orchestra, soulful guitar melodies and crisp automation – that fuel the record and define its originality. But, a disappointing factor of the show not necessarily at the fault of Turnover, was that these subtle distinctions were lost in the wide room of Roadrunner.
I believe the band tried to encapsulate the more detailed tracks on the new album to the best of their abilities, but it is also worth noting how the little things can get lost during such a sprawling live performance. Still, I and many others danced along.
The band did encounter a small hiccup. When starting one of their older songs, it seemed as though the percussion was offbeat. Getz stopped the song, came to the microphone and mentioned to everyone that they were going to start it again. After this, the group lost a bit of their energy and the audience seemed somewhat distracted. However, they did not let the mistake rattle them for too long and soon after got back into their flow, taking the audience with them.
After Getz stated how special the Boston show was for the band, they closed out with “People That We Know” and “New Scream.” With the well-balanced concoction of new and old, the group cohesively rode through their swift instrumentals and Getz’s smooth and effortless vocals. The atmosphere was joyous as people danced, laughed and crowd surfed. It was clear that listeners missed them after a three-year gap in between records. “Myself in the Way” is certainly a record that feels like the band has landed at home, and that same gracious essence was delivered on stage, creating a successful night for Turnover’s natural evolution of sound – it felt like a party for all who took part.
Caitlin Reardon can be reached at [email protected]. Follow her on Twitter @caitlinjreardon.
