Fleet Foxes review at 930 Club; 7/29/2009 (early show)

July 29, 11:44 PMDC Live Music Clubs ExaminerMichael Bogart

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Fleet Foxes, 930 Club, 7/29/09

Upon first inspection, one might have perceived their whereabouts at 930 Club tonight for a scene out of the O.C. The collection of uppity hipsters and college-aged artsy-types might have suggested Seth Cohen was somewhere in the crowd. Blended with a small infusion of tie-down professionals and Wednesday night's early show featuring the Fleet Foxes turned out to be a rather blissful and relaxing foray displaying the up-start folk rock sounds of the Seattle-based quintet. Despite the best efforts of some to confuse the venue for a crowded bar and others shouting 'Free Bird' (donkey), Robin Pecknold and company showed the D.C. folk what folk harmony is all about.

Philadelphia-based Espers kicked off the night shortly after 7 to an eager but still developing crowd. Frontman Greg Weeks led the psychedelic-folk montage through several tracks including 'Flaming Telepaths', a Blue Oyster Cult cover. While indulging a bit in a sound relatable to Jefferson Airplane meets Cheech and Chong, Espers were a nonetheless quality introduction to the far-reaching and pastural notes yet to be played.

Diving in to 'Sun Giant' as an opener, Fleet Foxes brought a subtle confidence to the stage for the first show of two sold out performances. 'English House' sounded sweet and surreal; rhythmic harmonies of Pecknold, Tillman and keyboardist Casey Wescott shine in this track. This song sounds as if it were dubbed over some North Pole dreamscape. They also featured a 'New Song' and what seemed like an accelerated version of 2008 breakout track 'White Winter Hymnal'. Outstanding performances representing a strong cohesive sound included 'Your Protector' and 'Ragged Wood', two of the evening's clear highlights.

Relaxed banter from drummer Joshua Tillman revealed his upbringing in nearby Rockville, MD. The Rockville theme carried in to a 3-minute discussion on school-life there and how Tillman sees extensive change. Later, Pecknold tied Tillman's 'descent' from substitute sandwich maker to drummer as a 'Rockville-to-Rock' change of his own, but not before Pecknold suggested the crowd might rather hear his voice instead of Tillman's.

Set closer 'Mykonos' was well-anticipated with a clear distinguishing between the vocal glory of the first part of the song and before Tillman initiates the ruckus with a dual tamborine crashing as it crescendos. Pecknold came back quick after the brief set break to play a solo and serene 'Oliver James' before the band joined him for the closer: 'Blue Ridge Mountains' is a gripping and visual folk masterpiece, both lyrically and musically tight while exhuming the sometimes-forgotten simple beauty and sound of CSNY.

While Pecknold explained that the latter set may essentially be the same ("but not quite as good with the same tired banter"), there is little doubt it will stack up as entertaining and relaxing as the first show was. If appalachian rock was a religion, Fleet Foxes would be its Sunday morning chorus...perhaps posing as the Siren for the hillbilly intellectual.