A snippet of The Who’s “It’s A Boy” brought the tune’s train-like structure to an incredible conclusion. The song turned into a 10-minute, intense multi-sectional composition that ricocheted between laidback folk with aggressive strumming intervals to an experimental guitar jam. Segall began a cappella, brought down the house:Īs Segall sang, his voice became sinister. The crowd went wild with appreciation for his masterful strumming. Segall’s hands was moving intoxicatingly fast. Starting very slow and gently, the song it revs up half way through. Moving back to his own corpus, Segall followed with “Queen Lullaby” from his 2013 effort, Sleeper, which translated nicely into the acoustic format. Then, unexpectedly, he threw in Harry Nilsson’s “Me and My Arrow.” His trip down memory lane continued with a cover of Gong’s 1970, “Little Miss Titty.” Segall delivered the song in a menacing voice that would make Daevid Allen proud. The next few songs drew from Segall’s various albums going back to 2011’s Goodby Bread.
This song’s slow expressive start and transition into surging guitar complimented by falsetto vocals, providing an atmosphere of psychedelia, was the perfect start.
He kicked off things quickly with “Orange Color Queen” from his second self-titled album. Opening his beat up guitar case, he noticed the lack of a strap, running immediately off stage to retrieve it. Segall arrival on stage was greeted by a respectable audience of loyal fans. This warmup choices may have something to do with Segall’s recent covers album Fudge Sandwich that includes his takes on songs by Neil Young, Funkadelic and John Lennon. The 9:30 Club’s house music created the mood, drawing on 70’s selections from metal to punk. Listen carefully, and hear the significant influences of David Bowie, Black Sabbath and Marc Bolan. It is oft described as lo-fi, indie, psych-influenced rock. Segall’s music has a definite nostalgic feel. By then, he had amassed quite a catalogue, releasing a solo album every year since 2008 and along with multiple side projects. Segall caught my attention in 2014 with his seventh studio effort, Manipulator. The current tour is all acoustic, a significant change for this energetic artist who usually commands aggressive mosh pits and encourages crowd-surfing at his sold-out shows. Seeing the folding chairs filling the floor of the 9:30 Club, I knew garage-rocker, Ty Segall’s gig was going to be different. Photo by Nalinee Darmrong Courtesy of 9:30 Club
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