To describe the musical genre that Maribou State operate in is a challenge in the best possible way. Bluesy electronic. Soulful ambient. Full-on dance music. With hints of UK Garage. You can take your pick. The duo itself has referred to their music as “melancholy elevator music.” Chris Davids and Liam Ivory released their third album, “Hallucinating Love,” earlier this year. On it they continue to shapeshift and defy genre constraints, and therein lies their biggest strength: their authenticity. The band had taken a break for a few years after Davids was diagnosed with a serious brain condition. After taking time off during which Davids recovered, Maribou State headed out on a North American tour, of which they played two opening nights at the Commodore Ballroom, before heading off to Coachella.
Vancouver DJ, Dane, opened for Maribou State. Dane’s style blended house and deep house, with disco and afro beats. Dane has been a fixture at Basscoast festival and the now closed and locally beloved venue, Paradise. He had a funky energy that the crowd was familiar with. The audience knew his music well and he connected with them as he smiled and danced through his set.
Maribou State took the stage to a warmed up audience. Ivory was on the synths and the keyboard, while Davids played guitar and synths. Both humbly positioned themselves at the back of the stage. Vocalist, Tallulah Ruby, took centre-stage and moved freely around. She watched Johnny Cade on the drums to stay on beat. Jonjo Williams on bass guitar and percussion rounded out the crew. Maribou State are known for incorporating distinct musical instruments and this was evident in their use of guitar, bass guitar, several electric drum machines, synthesizers, keyboards, a full drum set, conga drums, triangle, tambourines and other shakers and percussion instruments on stage. Ivory, Davids, and Ruby would occasionally speak, but didn’t do much talking in general. Williams pumped the audience up while Ruby danced and glided on stage.
Maribou State played their signature liquid atmospheric sounds. Some of the tracks morphed into one another while others still carried distinct musical elements. Maribou State’s fusion sound is both cerebral and reflective, but it is also music that you can move to. They have combined deejaying elements with a live band experience, and in doing so, have expanded on their albums. For example, the drummer played percussion in the live show that isn’t as prominent on the record, while the vocalist, Ruby, was on stage for about half the songs, which is not the case for the albums. The crowd loved Ruby which reaffirmed her inclusion on the tour.
Maribou State’s energy had ebbs and flows, and built up significantly towards the end. Song highlights included “All You Need” which is an emotional track with soul energy. It had strong vocal samples and addictive guitar riffs. A true crowd favourite. “Bloom” had an intricate and pristine mood. It made me feel like I was walking in a manicured Japanese garden in the spring. “Glasshouses” had the serene vocals of Ruby. Again on “Steal,” Ruby’s powerful vocals brought zeal to the track that isn’t present on the studio recording. The last track before the encore was “Turnmills.” It had after-hour club vibes and forced the crowd to move on their feet.
Maribou State played for an hour and fifteen minutes. They were accompanied by moody and colourful stage lighting. The crowd, a healthy mix of Millennials and Gen Z, emitted enthusiasm and made for an electric atmosphere. In attendance and beefing up the numbers were Aussie, Irish, and British fans. Maribou State have the recipe down for a unique and satisfying show. We’re lucky to have been the first stop on their tour which is only going to go from strength to strength as they make their way across the continent.
– Forestt Wuest