Japanese Breakfast performed Tuesday night at St. Paul’s Palace Theatre in support of their fourth album, For Melancholy Brunettes (& Sad Women). I wasn’t entirely sure what to expect from the band, which was here as part of The Melancholy Tour, since I’d never seen them play live. But when I say “perform,” that’s the most accurate word I can use to describe what I witnessed, as they held my attention for the entirety of the hour-and-a-half-long set.
Speaking of performances, that’s also precisely how the night’s opening act, Ginger Root, could be classified as well. In fact, I felt their set focused on the entertainment aspect so much more than the actual music.
Frontman and multi-instrumentalist Cameron Lew was joined by bassist Dylan Hovis, drummer Matt Carney, and a videographer who, for whatever reason, seemed to be the main attraction. Donning a red jumpsuit and shouldering a large video camera, he remained center stage and bounced from one band member to the next while his recordings were broadcast live on two enormous screens.
The band blended groove, funk, and ridiculousness into their 40-minute set. It wasn’t for me, but the crowd appeared to devour the schlock with gusto.
With Ginger Root cleared away, it was time for Japanese Breakfast. The lights dimmed and the stage became cloaked in darkness. While the band was emerging, a lantern was lit, which bathed everything in an orange-y light. We could then see a giant scallop shell in the center, which was flanked by swooping “waves” on each side.
Lead vocalist Michelle Zauner perched herself on the base of the shell, resplendent under a singular spotlight, and played the first chords of the opening song, “Here is Someone.”
Afterward, the singer turned her attention to the audience and explained that tonight she realized this wasn’t her first time at the Palace. “We actually played here, almost nine? eight? years ago, opening for Slowdive,” she said. “I remember they opened up the back for us to load in, and [I was] just so stunned at being in this beautiful theater. [It’s] really amazing that eight years of very hard work later we’re here, headlining this venue.
“There are so many great shows in town tonight,” she continued, “so I’m very grateful that you chose this one, and you’re spending your time with us here.”
For the entirety of the evening, Zauner commanded the room. She moved to the music, although between early songs she jokingly explained that if it seemed she wasn’t “that excited,” it’s because the sleeves of her off-the-shoulder, gold jacquard top inhibited the movement of her arms.
But her voice was not affected by her ornate garment. Zauner sounded perfectly, well, melancholy singing the band’s new material. Her bandmates, including Peter Bradley—who, fun fact, is Zauner’s husband—Deven Craige, and Craig Hendrix (along with a couple others whose names I sadly did not pick up) contributed by layering guitars, woodwinds, drums, and other instruments to create a lush, dreamy atmosphere.
The setlist balanced new and old. The more recent material delivered a wistful vibe, while the tracks from earlier albums lent a more upbeat tone.
The gong, which has become synonymous with Japanese Breakfast, came out for the four-song encore. The band began by capturing the jam-packed room’s attention with an ethereal performance of “Posing for Cars” before moving into the spirited and gong-heavy “Paprika.”
To round out the show, Zauner and crew played “Be Sweet,” which was visually accompanied by fittingly saccharine stage lights in bright pink and sky blue before they wrapped with an absolutely lovely “Diving Woman.”
As I shuffled out of the Palace alongside my fellow sweaty concert-goers, I vowed to see Japanese Breakfast the next time they come to Minnesota. This show solidified me as a fan.
