Concert Review: The Chills

Mississippi Studios, Portland, OR
10/28/2022

There is little in music so moving as a rock ‘n roll redemption story. And you can witness such an arc live on stage right now. The fact that one of New Zealand’s most famous musical exports The Chills are touring at all is rather a miracle. The fact that they’re at the peak of their powers, radiating health and good cheer while weaving their way through a set from their 40+ year career, is enough to reaffirm your faith in the goodness in the universe, and that’s what happened last week before a jubilant crowd at Portland’s Mississippi Studios.

With no awareness of The Chills’ turbulent backstory, you might not have thought much of their clean, clear, infectious indie pop, as it’s the opposite of flashy, gimmicky or boastful. Your first clue have come from “Bad Sugar,” from last year’s excellent Scatterbrain, with its razor wire sharp breakdown. Watching a band pulling off some complicated choreography in the throes of an epic jam, you realize that what you had previously thought to be effortless and off-the-cuff is in fact meticulously rehearsed. Such complex breakdowns are a dead giveaway that you’re seeing a band in complete control.

That’s not to suggest that perennial set opener “Night of Chill Blue” from 1998’s Brave Words isn’t enough to stand your hair on end. Quite the opposite, in fact, as Phillipps’ pulsing, hypnotic guitar is joined by multi-instrumentalist Erica Scally’s soaring, emotive violin, adding a heartbreaking emotionality to Phillipps’ lovelorn lyrics of regret and distance. It’s a clear sign of the Chills’ influence on modern indie rockers like Yo La Tengo – another band who doesn’t believe in shouting their awesomeness in your face, which sometimes get them overlooked or forgotten.

Scally’s instrumental contributions are the best argument against The Chills being a Martin Phillipps solo project. Her sterling clear second guitar is essential for summoning that legendary Dunedin sound, reminding us that clean guitar tones can be just as mesmerizing and devastating as the dirtiest distortion. Her violin contributions place The Chills as predecessors of what would later become post-rock as well as artful indie pop, bringing to mind everyone from early Grails to the cosmopolitan compositions of Ken Stringfellow.

It’s just as striking that this chill-worthy moment (pun fairly intentional) comes from an album released last year. The Dunedin, New Zealand indie institution are touring on dual accomplishments on this extensive North American itinerary. First, they’re supporting Scatterbrain, released last year on Fire Records to critical acclaim. Even more significantly, for long-standing Chills devotees, is the 30th Anniversary of Soft Bomb, their follow-up to their hit album Submarine Bells.

Soft Bomb was repped in earnest after “Bad Sugar” with a stirring, moving rendition of the album’s biggest single, “The Male Monster from the Id,” redolent of everything from The Dead C to The Clean. “Male Monster” sounded particularly vital live due to Callum Hampton’s glistening bass, providing a smooth-but-powerful foundation for Scally’s clean, jangling guitar.

Soft Bomb‘s “Double Summer” almost disproves its point, as Phillipps’ claim that “time flies quietly” is called into question, with bouncy piano-driven pop that could have dropped three months ago instead of three decades gone. It’s tempting to make this number a hefty, ponderous emotional statement with the weight of hindsight, but in truth it’s a light, fun pop song with some interesting textures. Which doesn’t stop its breakdown from blowing up like a garage full of combustible fumes. It’s an excellent example of how The Chills can come out of left field and blindside you, catching you off-guard with their illusory effortlessness.

For many years, The Chills were perceived as a vehicle for Martin Phillipps’ solo work. On this Friday night in Portland, it’s evident how untrue that is. The current Chills lineup is the most consistent and stable the band has ever known. Their combined strengths create the conditions for Phillipps to display his warm, witty but understated stage presence.

The Chills set was a euphoric, uplifting display of the band’s entire discography, including many of their biggest hits like “Pink Frost” (which Iggy Pop called “fine art”) or “Submarine Bells.” It was the opposite of a legacy tour, though, as the band have never sounded tighter or more focused.

The Chills, and Martin Phillipps specifically, have experienced nearly every setback an indie band or musician can face – mental illness, drug addiction, a fickle music industry, disappointments and ego. Miraculously, they survived it all – and have emerged all the better for it. Most crucial is Phillips recent brush with death, as he suffered a near-fatal Hepatitis C diagnosis several years ago. Remarkably, Phillips managed to beat the illness. Playing to a healthy crowd of adoring fans of all ages, filling the space between songs with lighthearted, amusing banter, you’d never know he’d been at death’s door just a few years ago.

Age seems to have brought Phillipps some perspective and appreciation both for his musical career and for life in general. He seemed to radiate enthusiasm both for his bandmates as well as the crowd, which is a far cry from his reputation as stand-offish and self-involved.

Manchester’s Jane Weaver also dazzled with her distinctive blend of ‘60s pop, early glam and retro-futuristic synths as she blazed through a set from her consistent discography, including her immaculate sci-fi glam prog opera The Silver Globe. If you’ve ever wondered what Bowie jamming with Bolan, backed by Rick Wright on mini-moog and Clyde Stubblefield on drums, make sure not to miss the tour dates featuring Jane Weaver.

If you’re a fan of any era of The Chills, New Zealand rock or simply if you want to see an example of a legendary indie pop band at the peak of their powers, check them out at a theater near you.