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04/04/12 07:28 PM
Gotye played a sold-out show at the Aragon on Tuesday night.
(Nuccio DiNuzzo/Chicago Tribune / April 4, 2012)
10:02 a.m. CDT, April 4, 2012
If there were any doubt about the Belgian-Australian artist known as Gotye's
rising stardom, one need only cite his impressive venue leaps for his
Chicago debut, from a room that holds around 750 to a space six times
that size, all over the course of a few weeks. Tickets for the erstwhile
Wouter De Backer's Park West show went on sale last December. By the
start of February the show had been moved to the Riviera, and a week
later to the Aragon, which he then easily sold out well in advance of
his performance Tuesday night.
While it's safe to ascribe Gotye's
success to the ubiquity of his single "Somebody That I Used to Know,"
one song's popularity alone isn't enough to anchor a sold out show.
Gotye's secret, if it's really much of a secret, is that he's been
honing his craft since 2003, and indeed, if there's a lesson to be
learned from Gotye's breakout, it's that "overnight success" is really
in the ear of the beholder: the singer's ascent has been in progress for
close to a year, following the summer 2011 release of his playfully
eclectic third record "Making Mirrors" (which was only finally released
in America this February).
While "Somebody That I Used to Know"
(performed with duet partner Kimbra, who also opened the night with a
high-energy set that fused jazz vocals with funk-rock ferocity)
predictably drew a disproportionate amount of attention, Gotye proved
throughout the night that his catalog holds plenty of other pleasures.
In fact, now that he's got his foot in the door, it's easy to imagine
songs such as "Smoke and Mirrors" or "Eyes Wide Open" sneaking in and
gaining traction as well, and for all the relative limitations of De
Backer's reedy, Sting-like
tenor, he demonstrated that all it took was a few tweaks of technology
to lower his voice to a booming rumble on the bobbing, reggae-tinged
"State of the Art."
Fronting a band that adeptly
juggled electronics with traditional instruments (for "Thanks For Your
Time" all five people on stage were striking samplers and keys), Gotye
was surrounded by various percussion devices and electronic instruments,
happily thudding on toms or hitting triggers to enhance his winsome
soundscapes. While it would be easy to think of the array as a sort of
protective nest shielding him from his audience, the calm, confident
Gotye showed himself more than capable of managing the needs of a crowd
that may not have known he even existed just a few months ago. Whether
he's able to stay on top is anyone's guess, but for the time being
sticking with Gotye seems a pretty safe bet.
04/04/12 09:16 PM
04/05/12 04:10 PM
04/06/12 11:33 PM
You keep using that word. I do not think it means whatyou think it means.
04/06/12 11:37 PM
04/06/12 11:59 PM
04/09/12 02:18 PM
04/09/12 06:52 PM
04/09/12 10:09 PM
thecolbster wrote:So let me get this straight.
The song is a creepy fratboy/Eurofag love song to some woman he's stalking.
And she comes in at the end just to point out how creepy he is.
Why is this popular?
04/09/12 10:21 PM
04/10/12 12:43 AM
"Amid all the acute Youtube analysis, there’s one question no one
seems to ask – who is it he used to know? Initially, De Backer, who’s
been in a relationship with singer-songwriter Tash Parker for four
years, plays down the idea of any one catalyst, instead attributing it
to both “a romanticism of melancholy” and “a curated reflection of
multiple past relationships.”
But when pressed, he admits one does resound louder than the others.
“There is an ex-girlfriend I know.” Long pause. “It was five-six years
ago. It wasn’t a nasty break-up, but it was messy in the sense that we
hurt each other more than we needed to because it wasn’t a clean break. I
guess it’s closest to what the chorus is about. We both realised we had
to move on and we haven’t seen each other since.”
He did get in touch a few years ago and they planned to catch up in
London, but it fell through. Lately, he’s been thinking about calling
again. “I feel like I owe her a call to say ‘just in case, I don’t mean
to come across as self-important to suggest you’ve heard my new single,
but you shouldn’t be worried about it, but let’s catch up for a drink,
‘cause it’s not really about you and I hope you’re not worried about
How does he predict she’ll respond? “I don’t think it’d be awkward. I
think it’d be good to catch up and find out what we’ve been doing. I
wonder if she might have decided to avoid listening to my music.”"
If you would have asked sooner, colbster, since you seem so concerned, I would have asked him for you last week.
#3 - Hot 100
#1 - Alternative Songs
#1 - Rock Songs
#3 - Digital Songs
#2 - On Demand Songs
#5 - U.K. Singles
#1 - France
#3 - Billboard Canadian Hot 100
Not too shabby. No, not at all.
04/11/12 10:11 PM
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