As we arrived at the Pageant on Thursday night, ecstatic at the prospect of interviewing the evening’s opening band, Clearlake, we were in for a surprise. While walking past the tour bus, Laetitia Sadier and half of the rest of Stereolab emerged. I was awed to be in the presence of these futuristic and visionary musical demi-gods, but I tried to maintain my composure amidst a swirling sea of emotions. In a few minutes I thanked them for their wondrous and prolific contribution to avant-garde music, told them about Wash U, and asked their opinions of progressive rock. They hadn’t heard of our school, but at least they didn’t ask if I meant George Washington or University of Washington. Laetitia was down to earth and very gracious; they were more than happy to talk with us and answer our questions. And when they told me to come to the show, I was able to tell them that besides coming to the show, I was reviewing it.

On to the opening band. Hailing from Brighton, England, up-and-coming pop band Clearlake proved to be both in person and in concert exactly as I expected. Their forty-five minute set of guitar-heavy, self-termed “dirty pop” got the crowd into an energetic mood. Mixing songs from their current album “Cedars” and yet-to-be-released material from their upcoming album, they created a melancholy yet danceable atmosphere, receiving a warm audience response as far as opening acts go. Along the way, we were treated to their views of American cities, including some particularly appreciated bashing of Detroit, which they described as “dirty.” Their music was simple but well-conceived. They worked with a two-guitar lineup, a drummer, and the fourth alternating between bass and keyboard in the styling of Geddy Lee, frontman of legendary Canadian band Rush. They concluded their set with a regrettably short version of “Almost the Same,” the first song on “Cedars,” and, in my mind, their best. After an extremely long intermission, Stereolab took the stage to a jam-packed floor composed largely of a college-age and twenties crowd.

The show was an enthralling trance of sensory stimulation. There was always so much flooding my senses that I had a difficult time knowing what to pay attention to. Eventually, I just stopped trying to do anything. Laetitia, at the center of the stage and often bathed in a blue light, controlled the mood and direction of the show, supported by Stereolab’s amazing musicians. Playing with an ensemble of six, anchored around Andy Ramsay’s tasteful and intricate drumming, they provided the perfect accompaniment to Laetitia’s absolutely unique and breathtaking voice.

Stereolab will be remembered for their amazing fusion and versatility of musical genres and moods. Like Phish, they can evolve rhythmically, melodically, and harmonically at will, meandering through an unbounded range of emotions and patterns of notes. What is Stereolab? ’60s retro music, jazz, fusion, tropicalia, dance music, a progressive rock band, filmscore music? Stereolab is all these things and more, and ultimately they leave an impression of a fleeting dream whose details can’t be remembered, but whose haunting form, images, and sounds still linger.

Stereolab’s music was supplemented by a truly impressive performance of lighting and projected images. Their selection was utterly appropriate accompaniment at all times. We watched colorful, psychedelic images dance above the band, only to have them turn into tiny black and white cartoon characters running around and acting crazy without any apparent good reason. Stereolab cannot just be like another band. They must do things differently, from using old, analog technology, to incorporating the most bizarre and eccentric instruments into their music, to going crazy with Moogs, farsifas, and vox organs, to having Laetitia play her trombone during her breaks from singing. Seeing Stereolab in concert is an opportunity that should not be missed. Following the tragic death of keyboardist and singer Mary Hansen in 2002, who was such an integral part of Stereolab, it is inspiring to see the band continue, pursuing their collective inner drive to create.

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