Chanel Beads at Warehouse XI, 9/13
I’ve been enamored with Chanel Beads, the collaboration of New York-based songwriter-producers Shane Lavers and Maya Collette, since I stumbled upon their breakout single, “Ef,” in late 2022, drawn in by the blend of airy, inviting synths and gentle pop melodies. It’s a light, alluring earworm of a track and I’ve had it on steady rotation since its release. The duo’s first full-length project, Your Day Will Come, arrived this April through Jagjaguwar, and I was excited to see them on their headlining US tour at Warehouse XI earlier this month.
The show proved much more lively than I would have expected from a band with such a floaty, elusive sound. This was in no small part due to the energy Lavers brought to every song. He took advantage of the venue’s lack of a stage to throw himself into the crowd and harness their energy for the set. Lavers often sang from within the audience, rather than staying back by the standing microphones. This eroded the barrier between artist and listener, making the show a unifying experience rather than one that literally and figuratively elevates its performers. Even on “Idea June,” which does not feature his vocals or instrumentation, Lavers circled the stage, drawing the crowd toward Collette’s singing and affirming the intimacy conveyed by the music. The venue hosts more weddings than it does concerts, but the band made it feel as formidable a space as the Sinclair. By the end of the night, a captive audience had filled out the warehouse. Off in the corner, openers Quiet Light and Kassie Krut danced, so absorbed in the music that they blended in with the crowd.
To make the strings and synthesizers pop, the band brought in a live electric violinist to accompany Lavers and Collette on guitar and vocals. It brought a depth to the show that I appreciated, and its impact was evident as I watched the three musicians bounce off one another. Some standout tracks of the night were—naturally—my old favorite “Ef,” album standout “Police Scanner,” and a version of “Idea June” incorporating a violin solo that complemented the already intricate instrumentation. Lavers often bellowed the lyrics with forceful intensity, which made me think he could have a promising career in metal. It was an invigorating contrast with the lighter strings of his bandmates. The freshness of the trio’s live performances gave new life to the songs as they rearranged the instrumentation and vocals: it felt as if I was hearing Chanel Beads’ music for the first time all over again.
Your Day Will Come is one of the year’s most exciting albums, and I’m doubly captivated by it after seeing Chanel Beads live. Their US tour stretches into October, and I imagine, after seeing the energy they bring to their performances, they’ll have won over a wider audience by the end of it. I firmly expect to see them on many 2024 ‘Best Of’ lists and hopefully, they’ll be a popular festival booking as they fine-tune future releases.
