LIVE REVIEW
BON IVER: Hammersmith Apollo 21/2

In 2008, Wisconsin native Justin Vernon - having been scratching around as a struggling musician for a few years - decided to deal with the aftermath of a failed relationship by holing up in a wooden shack deep within his local countryside and pouring out his emotions in song. The resulting album - the frankly astonishing 'For Emma, Forever Ago' - was released some months later to almost universal acclaim, and catapulted Vernon - now trading under the nom de plume of Bon Iver - into the rarified heights of the hipster elite, selling millions of records, winning awards by the bucketload and collaborating with the likes of Kanye West. The self-titled sophomore effort from 2011 was another beast entirely, fleshing out the hushed, acoustic folkiness of his debut and encompassing swirling strings, strident horns and, at times, expansive power balladry. It was another masterpiece and continued Vernon's hot streak in some style. Then, bar a few guest appearances here and there and some production credits, there was nothing. There were rumours that Vernon had tired of the limelight and the success and had all but retired. However, in 2016, Vernon returned to the scene with a real curveball. '22, A Million' was a tricksy, head-scratcher of a record that, on first listen, made not a jot of sense. Full to bursting with esoteric synth flourishes and left-of-centre time signatures - as well as the oft-maligned AutoTune vocal enhancements - it took most listeners a few spins to discover its charms. But charms there were and it eventually crept up most end-of-year lists and - if not quite touching hearts and minds like Vernon's first two efforts - it now stands as an excellent consolidation of his singular talent. Live dates were announced for early last year, but due to some undisclosed personal circumstances, were quickly cancelled. Finally though, Vernon and his latest iteration of Bon Iver announced 3 dates at the 5000 capacity Hammersmith Apollo. Which quickly became 5 dates - then a remarkable 8. All sold out too. Trucker caps off, Justin.
Tonight's performance was the first of this incredible run, and fans were promised two sets: a full-blown run through '22, A Million' followed by a second half of early classics. Upon arrival, it is increasingly apparent that tonight's performance could be something very special indeed. The atmosphere in the room is electric - there is genuine excitement and anticipation among the gathered throng - and when the house lights go down the resulting roar of welcome is deafening. Vernon leads the band on stage - featuring two drummers and a five-piece horn section - and, surrounded by an artfully constructed stage design of wispy plant-like tendrils and low-hanging light bars, Vernon and his collective launch - as advertised - into '22 (Over Soon), the latest album's first track. Standing centre stage in front of a bank of electronic consoles - his trusty guitar nearby - Vernon's striking falsetto is a thing of real beauty as he uses his tech to loop his vocals and mix them with some crackly gospel samples, whilst his fellow band members add warmth and texture behind him. '33 GOD' and '8 (circle)' - the two most obvious tunes on the album - were a delight in this live setting, beefed up with crashing percussion and some utterly thrilling saxophone work from Michael Lewis. The real highlight though was '21 Moon Water' which on record is a drifting, passing cloud of a song but which tonight is an absolute beast, building to a crescendo of pounding drums and coruscating indie-rock that fair brings the roof down.

After a 22 minute intermission - clever - Vernon and crew return for a sparkling run through some Bon Iver Version 1 classics. 'Perth' and 'Holocene' from that second record are totally spellbinding, drenched in crisp and clean swathes of electronica and underpinned by taut percussion as Vernon - who is in glorious voice all night - plaintively bares his soul:  "And at once I knew, I was not magnificent". Spine-tingling stuff. There was a barnstorming run through a personal favourite of mine - the title track of the splendid standalone 'Blood Bank' EP - before Vernon, with a soft smile it has to be said, bowed to the whims of the audience and opened the door to that snowbound Wisconsin cabin. 'Flume', the opening track from 'For Emma...' is greeted like a long-lost relative and, bar one idiot screaming "This is the one!", is performed so magnificently and to such a reverentially rapt audience, that you could hear a pin drop. The even more wondrous 'Creature Fear' follows and, with the band now resembling a jazz-infused rock orchestra, builds into a snarling, roaring leviathan of a thing - complete with brain-scrambling strobe lights and ear-shredding guitar work from Vernon and his fellow axe-man Michael Noyce. Tremendous. Vernon then returns for a stunning encore of 'For Emma's' title track, complete with the gathered thousands lustily singing along to the chorus. It must be strange for Vernon to find himself, a decade later, geeing up his audiences to sing a heartfelt and emotional farewell to his old flame, but - as he exits the stage with a wave and a cheery grin - this astonishingly accomplished show (which, by the way, he changed up every night of this residency) shows how far he's moved on as a musician and a songwriter. A truly superb performance.

SETLIST: 

22 (Over Soon)
10 dEAThbREasT
715 - CREEKS
33 "GOD"
29 #Strafford APTS
666}
21 Moon Water
8 (circle)
____45____
00000 Million

Woods
Perth
Minnesota, WI
Holocene
Towers
Blood Bank
Flume
Creature Fear

Heavenly Father
Michicant
For Emma