Beirut | Interview

Story by Dylan Bliss 

| Published Sep 6, 2011

When most artists shift their sonic focus from personal to accessible, it is often prompted by their own re-exploration or self-criticism. In the case of 24-year-old Zach Condon, a musician who has explored countless styles and influences throughout his short but prodigious career, stripping down to a more American pop sound comes naturally. Condon’s voice masterfully guides the ebb and flow of Beirut’s latest LP, “The Rip Tide,” through upbeat stories of home in “Sante Fe” to deeply moving confessions from the road with “Goshen.”

Past Beirut arrangements have been expansive, sprawling journeys through French, Balkan, and European brass influences, stemming from Condon’s travels when he began recording in his bedroom at 17. “The Rip Tide” is not completely removed from that celebrated formula, but the independence of the songwriting from any concept makes the album instantly enjoyable.

The band has neglected to share the future aspirations of Beirut, but considering their pace and early start, we should expect Condon and friends to continue packing theaters and delighting critics.


DailyER Nebraskan: You’ve have had extensive experience with other bands prior to playing for Beirut. Can you explain any similarities or differences in the creative processes and how the music has transitioned from a more foreign influenced sound to the more American-pop type music offered in the upcoming LP, "The Rip Tide?"

Beirut: This new record is about reflection. We have been through a lot since the early days of Beirut. When he was younger, Zach would record all the time, sometimes as much as new songevery day. He is a pretty clever recorder. Building up a song in recording spurs experimentation, which eventually led him to record dozens of layered trumpets mimicking the sobbing brass bands of the old world.
We have some wildly disparate-sounding songs, ranging from the poppy to the mournful to the brash. Previous records have been made while we were wildly in love with French chanson or Balkan brass, Mexican processional music or European electronic music.
All these seemingly disparate ideas have an underlying tie-in to Zach's voice and vision. This record was about reflecting on what we have done and what we've been through.


DailyER: In general, how do you hope your fans will react to the seemingly more accessible songs in "The Rip Tide?" Do you expect some to miss the sprawling instrumentals from previous releases?


Beirut: We have been playing some of the new songs on tour the last three months, and they have slowly been getting some of the best crowd reactions. The fans have gotten a kick out of Zach singing and playing piano on the new song, “Goshen.”
Touring without a pianist this time around, we have been doing a sort-of round robin at the piano, with four of the six of us taking turns at it. It's been fun.

DailyER: In which region have Beirut's live shows experienced the most loving reception? Have shows ever gone sour due to patrons being unfamiliar with or intolerant of your particular sound?

Beirut: In many places we get such loving reactions, but my personal favorite shows have been Brazil, Poland, Portugal, and Mexico City.
Playing in tents at festivals has also been really fun. Bonnaroo, Coachella, Pukkelpop, and Paleo Fest are some standouts of recent memory. But I am partial to rowdiness. Loving crowds can also just be good listeners.