YouTube Jukebox – Great Live Versions

The advent of the internet has changed the music industry in a number of ways, many of them to the detriment of artists and record labels. But to fans the changes wrought have been highly beneficial, both for those buying and consuming music illegally and legally alike. For legal listeners there are a number of pluses to the internet age. Being able to listen to tracks posted online by newly discovered artists, live preview streams of soon-to-be released albums, the ability to download and play music the instant it is published. But one of the lesser aspects of the change in music is how live music is now available online.

With the National Theatre Live and similar endeavours the theatrical world has attempted to boost audience numbers with the increased availability and better geographic spread of performances. But there is debate concerning if replaying these otherwise unique performances diminishes their impact. The same could be said of live music. With so much concert footage available online these days, ranging from low quality videos with shaky pictures and cutting booming audio all the way up to performances shot by major Hollywood directors.

With quality footage from around the world, from musicians of all genres and levels of fame, the armchair music fan can see some fantastic performances from the comfort of their own home. With this in mind, here are some examples of amazing, interesting, funny and powerful live music recordings culled from the monolith that is Youtube.

Malcolm Middleton – We’re All Going to Die

—

In an attempt to break the monopoly of X-Factor starlets at the top of the singles chart come Christmas, Scottish musican-cum-misery guts Malcolm Middleton released a Yuletide tune. In his own inimitable style he made it about the inevitable and lonely arrival of death. The official video for the song shows its seasonal aspirations, featuring a drunken Santa wandering London, and is a treat in itself. But the Radio 1 live version is on another level for two reasons. Firstly, the inclusion of sleigh bells give it both a Christmas-y feel and also a delicacy that the more up-tempo album version lacks. Secondly, having a children’s choir in the studio doing the backing vocals. Seeing a group of fresh-faced school girls intoning the chorus line of ‘We’re All Going To Die’ alone with great relish is frankly hilarious. Unfortunately and not incredibly surprisingly, the song only made it to 31 in the charts come Christmas week.

—

Arcade Fire – Rebellion (Lies)

—

The Arcade Fire have climbed from being a  reached the point in their careers where their stage shows can be vast, expensive affairs, directed by Terry Gilliam. But at heart there band have a passion and exuberance which goes beyond precise direction and choreography, nowhere better demonstrated than this Coachella performance. A slightly…weary Win Butler dismantles a mike stand, Will Butler envelopes Richard Reed Parry in a clock whilst the guitarist plays on and the rest of the band bring the song to such a rousing end that it seems their instruments are liable to explode. The fact that this clip is taken from a movie about the Coachella festival does mean that the cinematography marries beautifully with the increases in tempo and cuts to all the interesting action, but at the core is still a whirlwind performance from an anthemic band.

—

The National – Mr November 

—

This one’s easy to explain: taking inebriated performing to the next level, lead singer Matt Berenger gets totally butchered and climbs all over the audience as the band plays on.

—

The Antlers – I Don’t Want Love

—

Any fan of The Antlers would do well to watch them live. Their performances, two of which I have been fortunate enough to experience, takes heed from the shoe-gaze elements of their albums and slows it right down. Not only does this make seeing them live feel considerably different to listening to their recorded music but also increases their potency. This is especially true of the falsetto vocals of Pete Silberman, which stretched and extended take on even more vulnerability and emotive depth in a song about continuing habits you’d rather break.

—

Freelance Whales – Generator First Floor

—

I first became aware of this song thanks to another live performance that audibly is far superior to this one. The trains shuddering into the station and the station announcements should ruin the, albeit rambunctious, acoustic gig. But the environmental noises, the announcements in particular, just become part of the performance and add to the quirky slightly twee nature of the band. The station announcer becomes almost a spoken word backing sample of the type used extensively by post-rock bands, ‘Welcome to Arco AM/PM’ by Godspeed You! Black Emperor being the track it puts me in mind of. The location is what makes this a great performance but watching it always makes me wonder if it was a wise choice. True, a large group of clearly quite enthusiastic and appreciative onlookers can be seen gathered behind the band and no doubt more are congregated out of shot behind the camera, but there are a number of travellers that seem put off by the band blocking their platform. Does this well-meaning attempt to spread a little sunshine into the daily underground gloom of commuting actually cause more bad feeling than it alleviates?

—

Frightened Rabbit – Different Names for the Same Thing

—

Another song in a unique location but this cover by Scott Hutchinson of Frightened Rabbit couldn’t be more different. Where the Freelance Whales were having to play over the sound of trains and swaying away from hurrying commuters Hutchinson stands alone amidst still trees and a fast running river which provides the only extraneous noise. The simple acoustic nature of this track works well with the natural setting and undoubtedly would have far less impact without the sound of the stream in the background. Acoustic songs often tend to have a raw power to them and adding in the elemental nature of water only increases this effect. Where the video for the Freelance Whales benefits from being in a busy spot, giving lots to see visually, the audio benefits from the quiet solitude of the riverside which gives nothing to distract from the vocals and gentle strumming.

—

Fanfarlo – We Live by the Lake (Black Cab Sessions) 

—

The Black Cab Sessions are a fine example that a simple idea is often the best. Put musicians into the back of a cab and film them performing a song. It’s a gimmick concept which reduces any gimmicks that can cover for otherwise poor musicians. There’s no hiding behind a huge stage show or autotune in such minimal settings. Every video I’ve yet seen has been excellent, which may be down to good curation by the producers or possibly in only showing those that cut muster, and particular favourites include Sunset Rubdown, Bon Iver and Fanfarlo. ‘We Live by the Lake’ highlights the traditional folk aspects of this band which work well when pared back. The setting makes for an incredibly intimate atmosphere and puts you right there sitting next to the band, almost in your own personal performance.