On The Rapture of Dancing Alive
(or: I Finally Watched That Future Islands Performance and I Feel Changed)
Doing work on my couch last night, I ended up on Letterman, watching the end of an interviewâNick Offermanâand then the musical performance of the night, some band Letterman was cracking jokes about before theyâd even started. The Strypes. I think I remember Letterman saying something about âmom picking you all upâ after the show, which was funny, because look at them. He also made a joke about taking them to play laser tag after the show, which, ha.
But it reminded me that there was this Letterman performance that everyone was talking about a few weeks ago I had yet to watch, this Future Islands thing. I didnât know exactly what it was that everyone freaked out about, I just remember there being that typical morning-after Internet peak-chatter level of talk, the kind Iâve made a habit of avoiding instinctually. Because when you work in Internet, that inescapably loud and concentrated volume of talk about That One Thing, at least for me, strips some of the joy out of it.
So, right then, I finally watched it.
0:30 (as performance starts): Okay, this sounds very 2006. This all looks very 2006.
0:32: At least that lead singer is moving. Decent two-step.Â
[BAD MID-AUGHTS VIBE INTERLUDE: For anyone even remotely paying attention to rock from 2005 onward, the name of the bandâFuture Islandsâsounded gratingly familiar. There were (or still are?) The Futureheads, Islands, and a Jimmy Eat World album called Futures that Iâd never listened to. Also: Future (rapper). Everything about it seemed so typical I was pretty convinced that whatever I was missing out on was some sort of schtick, like some band shooting themselves out of cannon. Which, I mean, I love the Arcade Fire, but look at them: In 2014, theyâre demanding their fans dress up in costume to their shows. Itâs fair skepticism, is the point.]
0:41: Okay, kind of into this post-Morrisey post-synagogue thing and thereâs an expressive eyebrow, and is that the thing?
0:45: Wait whatâd he just do with his legs.
0:49: Where did his head go what was that, do that ag
0:54:Â Heâs slowing down, maybe that was just a Thing. And heâs touching his chest, is this vamping? Is that what heâs doing? Maybe heâs actually feeling i
1:00: Heâs doing the leg thing again and moving his head what even is that? Itâs amazing. Okay, I get this, guy has moves.Â
1:04:Â What did he just do with his voice? WhâDid he grind the note?
1:14:Â Holy shit he just dropped it to the ground. How did he do that? Where did he learn that mo
1:17:Â He did the thing with his voice again I swear to god I heard it heâs actually doing that right?
1:29:Â Oh my god his hand is in a fist and heâs looking out into the audience like the answer is there and theyâre all the answer this is really something.
1:33: WHOA did not see that coming, the punching through the air and following through with his entire body on a note, which kind of looks like a combination golf swing/victory fist pump but he gets it, I get it, I get wanting to do that at a chorus, that which is the physical iteration of that particular guitar crescendo.Â
1:37: His hand in the air, holy shit, there are performances of Les Miz that are less theatrical.
1:43:Â And now heâs washing away the light with his hands and he totally grinded that note in his throat, okay, okay, I think I get this now, heâs secretly got a great voice and great moves, this is very solid.
1:52:Â The camera just went tight on his face and wow this guy is really, truly selling whatâs happening here.Â
[LARRY SANDERS INTERLUDE: If youâve ever watched The Larry Sanders Show, you know that the musical performance is usually when Garry Shandling either gets screamed at by Rip Torn about some crazy backstage nonsense or heâs hitting on a celebrity guest. For the most part Larry Sanders doesnât care much for his musical guests, and I imagine, night in and night out, this is how Letterman feels about his musical guests: A lot of monotony. Heâs really seen it all before. And I imagine him talking to a producer or somesuch as the band is on. Remember: Letterman really loves acts that put their all into it, and say what you will about the Foo Fightersâand thereâs plenty toâyou canât say Dave Grohl doesnât know how to put on a performance, which is why theyâre one of Lettermanâs favorite acts to have on Late Show. So I imagine this is around the point Letterman looks over his producerâs shoulder, and goes: âHey, wait: Who the hell are these guys?â]
2:07:Â Ohmygod heâs pounding his chest so hard the mic just picked it up this is amazing bordering on uncomfortable.
2:24: Yes! People do change! They gain one piece but they lose one too! You are making so much sense I am completely on board with this now, this is just, everything, church
2:27: They just went tight on the rest of the band and theyâre the most innocuous looking people ever, the bassist looks like whatshername from Chelsey Lately, which I guess is sm
2:30:Â WAIT WHAT THE FUCK WAS THAT he just grabbed at his shirt and made that noise from his throat again! That was real! And heâs curling his lip into a sneer and BAM heâs back into the moves
2:41: He just did it again Iâm so not making this up
2:53: Is he crying? This is all so much but also there will never be enough of it.
2:58:Â BOOM and he launches into the chorus again and heâs pounding his chest and the mic is picking it up and somewhere Meatloaf just jumped out of his Lay-Z-Boy screaming at the TV like âGO MOTHERFUCKER GO GO GOâ
3:14:Â I am sold, I completely get this, I am watching this again as soon as itâs over because why wouldnât anyone want to feel anything this much? This is what Joseph Campbell called, when asked about the meaning of life by Bill Moyers, âthe rapture of being alive,â andÂ
3:28:Â HOLYFUCKINGSHIT HE
3:29:Â 'SREALLY DOING THE DEATH METAL THING IÂ
3:30:Â FEEL LIKE HE JUST REACHED THROUGH THE SCREEN ANDÂ
3:31:Â ISÂ CHOKING OUT A PART OF MY SOULÂ
3:34:Â And now heâs dancing again and staring out into the audience but dancing harder than heâs danced this entire time and maybe in his entire life, he is dancing with purpose, like heâs going to generate energy or lifeforce by doing so and donât be over and
3:35:Â Itâs over. Itâs all over.
And this is the point where Letterman comes out and screams: âBUDDY! COME ON! How about that? Iâll take all of that you got!â And Letterman knows what you just saw because he just saw it, and he is equally enraptured himself. Any band who goes on Letterman for the next month, at leastâlike the one that was on last nightâhas been completely screwed to hell by this one.
There are so many reasons why this is great, but the three that stuck with me this morning on the way to work were:
1. If youâve ever danced in the bathroomâand Iâll readily cop to doing so, mostly in high school, before heading out to a party or a date, usually to something as desperate and pathetic, like The Cureâs âClose To Meââyour moves probably somewhat resembled an incredibly watered-down iteration of this. These arenât bad unkfunky whiteboy moves, either: Dude has rhythm. Heâs dancing along with the bassline, and heâs actually moving his feet and hips.Â
2. Itâs really easy to be cynical about anything so sincere, especially since this lacks the kitsch textures of twee (see: Anderson, Wes) or polished veneer of pop. Itâs confusing in the same way Meatloaf and Morrissey are confusing, in that there may be intent and awareness, there may be that allusion to death metal, but where those things normally serve to let an audience know that the artist is in on the joke, here itâs simply disarming: the acknowledgement that they have you, theyâve got you, youâre done for and now they can do whatever they please with you, like tear at their chest and plead and cry and scare the shit out of you.Â
3. Back to dancing in your bathroom: It was so much fun, and in retrospect, expressed so much, and this maybe made you (and definitely made me) recall in a very real way the energy of that stupid fun in a way you (or I) havenât felt in a while. But more than that, itâs that this bandâwhich has apparently been at it for 11 years nowâfinally got their shot. They got a spot on Letterman. And whether this is exactly what this guy does every night at his shows, or not, the bottom line is that he went with it, went for it, he didnât water down a single thing about what got him to this moment. In fact, he doubled down on it. And the rest of the band played their part, too: They know how to make music, and not complicated music, and probably couldâve thrown themselves into it, too, but that wouldâve betrayed what they knew they had to do. They had their one chance in life to make this kind of impact, and they did. And thatâs really kind of amazing. Who wonât take all of that?