fleet foxes tour review

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Fleet Foxes concert review

Fleet Foxes kicked off their long-awaited “Shore Tour” on Tuesday (06/13/2023) at The Agora in Cleveland, OH. On a warm summer evening, music enthusiasts gathered to await a journey of comfort songs on full display. Enchanting the crowd by opening with “Sun Giant” from the band’s 2008 EP of the same name, frontman Robin Peckhold set the tone to a night full of nostalgia and good vibes. From the first notes zoning the quiet crowd in and perfectly harmonizing, the band had created a happy sing along concert from start to finish.

Leading into “ Wading in the Waist-high Water” from the band’s 2020 album ‘Shore,’ the group brought opening artist Uwade on stage, whose powerful vocals added even more to an already amazing performance. The song made a great introduction of the band’s sound, highlighting Peckhold’s vocal abilities as well as the band’s wide array of instrumentation. “Blue Ridge Mountains” off of the group’s 2008 self-titled album and “Mykonos” from their debut EP ‘Sun Giant’ (2008) were popular songs that showed the band their listeners have been loyal since the very beginning. By crafting melodies that linger in the mind long after the concert ends, they mesmerized with their fusion of vintage and innovative sounds. Having a base in folk and classic rock influences, Fleet Foxes demonstrated impressive musical skills and out of the box creativity. 

With the background lights constantly changing on the stage, it created a pleasant visual that helped set the tone for each song. Seeing the hard work that has been done with the lighting and animations made one see the thoughtfulness put into the presentation. Having Peckhold’s voice assist in painting his lyrics and summoning deep emotions in The Agora made the ideal environment for Fleet Foxes by making it so one can genuinely see the sincerity the band wants to portray.

Throughout the night, the folk-rock band continuously showed their talented members’ capabilities. Nearly every member of the band played more than one instrument during the 24-song set. Ending on a high note, Fleet Foxes encore songs are always a joy that deliver a perfect performance. During the bittersweet moment as the last notes echoed through the venue, the crowd exploded into applause.

Fleet Foxes concert photos | The Agora Theater | Cleveland, OH | 06.13.2023

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Concert Review: Fleet Foxes, Uwade, August 6, Massey Hall

It’s not all that common to see an artist come out on stage before their show starts to personally introduce the opening act, but that’s just what happened Saturday night when Fleet Foxes frontman Robin Pecknold walked out to introduce opener Uwade . Starting off by mentioning how great it was to be back on tour and specifically back at Massey Hall (I believe he said it was their fifth time back at the venue), he also took the time to sing Uwade’s praises before bringing her onto the stage. It was a nice moment that illustrated the admiration Fleet Foxes hold for their tourmate and also helped to hype her up to the crowd a bit, Though based on the strength of the songs she played during her set, she might not have needed much hype anyways.

During her brief opening set, Uwade put on a solid performance that showcased her strengths as a songwriter, with the highlight of her set being “ The Man Who Sees Tomorrow “, a touching tribute to her late father. A charming performer with a penchant for asking the crowd questions as a way of introducing her songs, Uwade’s set seemed almost too brief, though happily she wouldn’t be gone from the stage for too long, joining Fleet Foxes on stage for their opening track “Wading in Waist-High Water.”

Touring behind their 2020 release Shore , Fleet Foxes put on an impressive show with a setlist that spanned their entire career and also included, oddly enough, a Hoobastank cover. Yes, in response to a fan shouting out a request for Hoobastank (there were a lot of people shouting out a lot of random stuff all night), Pecknold actually sang a bit of “The Reason,” which, somewhat surprisingly erupted into a bit of a singalong on the chorus before he cut it short. Who knew there was such an overlap between each band’s fandoms? Not I.

Speaking of covers, another memorable moment in their set came in the form of a beautiful version of Judee Sill’s “The Kiss”, which Pecknold described as “a holy song for this holy place.” Other highlights included “White Winter Hymnal” (jokingly referred to as a Pentatonix cover), “Can I Believe You”, “Blue Ridge Mountains”, “Montezuma” and “Mykonos,” a song which Pecknold called the bane of his existence as a singer, though he added that this night’s performance may have been the best he’s ever done it.

The band ended things off for the evening with “Helplessness Blues”, thus closing out a show that felt like a cool, comforting breeze in contrast to the oppressive heat outside. OK, I guess the AC probably played some part in that too, but you get what I’m going for here.

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Review: Fleet Foxes showcase their strengths in concert

Fleet Foxes perform their most popular song, “White Winter Hymnal”, during their concert at The Bomb Factory.

Joe Cross , Staff Writer August 22, 2017

Since their inception in 2006, Seattle based indie folk group Fleet Foxes have delivered three nearly perfect albums: their iconic self-titled debut , 2011’s more melancholic, subtler “ Helplessness Blues ,” and this year’s impossibly gorgeous “ Crack-Up .” And on Friday night in Dallas, they played the highlights from all three to a sold-out crowd at The Bomb Factory .

Before Fleet Foxes came out to perform, opening band Bedouin delivered a decent if unmemorable set that failed to fully capture the crowd’s attention, and toward the end of their  set it became quite clear who the crowd had come to see.

Entering to a pre-recorded horn intro, the band immediately dove into a stunning rendition of the opening suite from “Crack-Up,” complete with the lush orchestration present on the studio recording. They then played the more popular songs from their previous albums, such as “Grown Ocean” and “Ragged Wood.” The new material translated well to the stage, with extra touring members helping to replicate the songs as they sound on the album.

The band’s backing visuals were just as gorgeous as the music supporting them, and added an overall hypnotic effect to the show. Watercolor paintings and geometric patterns rotated on a screen behind the band, and colorful lights flashed in rhythm with the intense performance of recent single “Third of May.”

After a rather long set, the rest of the band left the stage while lead singer Robin Pecknold stayed on to take requests from the audience, and delivered stripped-down, acoustic renditions of songs by the band and also covers of other artists such as fellow folk singer Joanna Newsom. Finally, after Pecknold took some requests and chatted with the audience, the rest of the band returned for one last song, the closing title-track from “Crack-Up.”

Overall, the show offered an incredible set from one of music’s most consistent bands that showcased the group’s many strengths and the evolution of their sound over the years.

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Joe Cross is a senior at Lovejoy High School, a coffee enthusiast, and, most importantly, a film and music obsessive. He can often be spotted wandering...

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Utah Concert Review

Relive the Utah Concert Experience!

Fleet Foxes

Fleet Foxes w/ Tim Bernardes• June 27, 2022• Sandy Amphitheater

Reviewed and Photographed by Alisha Gregson

On Monday, June 27th, Fleet Foxes played the 1st show of their 2022 tour at the Sandy Amphitheater. I have been a long-time fan of Fleet Foxes. This was a concert I had been looking forward to for a while. This is the band’s first tour in four years. Many have been eagerly waiting for them to return to the stage. It would also be the first opportunity to watch them perform songs from their 2020 album Shore. The Seattle-based folk band is known for putting on an excellent show. Expectations were high as the crowd gathered to take their seats for the sold out concert. 

As I waited for the opener of the night to step out onto the stage, I was surprised to see the lead singer of Fleet Foxes, Robin Pecknold, walk out instead and address the crowd; “I just wanted to quickly introduce a very special artist that traveled all the way from Sao Paulo, Brazil, to play with us. I’d like to get a great Utah welcome to Tim Bernardes.” This was the first time I had ever seen a member from a headlining band come out before the show to introduce the opener. I thought it was a pretty cool gesture. 

Tim Bernardes

Tim Bernardes told the crowd that he would be playing some songs from the Fleet Foxes album, as well as some songs from his own band. After singing his first one, he said he just remembered that all of his songs would be in Portuguese. He asked if anyone there spoke the language. I was surprised to see quite a few people respond that they did. Tim excitedly pointed out one fan even holding up a Brazilian flag. I do not understand Portuguese, but that did not stop me from enjoying every second of his set. Tim’s voice was beautiful and his songs were a perfect way to get the evening started. I watched as the crowd stayed completely captivated by his performance. Many people there may have recognized his beautiful vocals, as he was featured in Fleet Foxes most recent album.  

Fleet Foxes took the stage and were met with ecstatic cheers from fans. Before starting up the music Robin Pecknold took a moment to address the crowd. “Thank you so much for being here on this beautiful, beautiful night. And thank you to Tim Bernardes for opening the show. That was incredible. And thank you for being such a sweet audience. And we’ll see how long this dumb beanie I’m wearing lasts.” I did think the beanie was an interesting choice in the 90º heat. But later in the evening, he explained his reason for wearing It.

After one fan shouted out “lose the beanie, Robin” he responded, “Ok, the feedback is to lose the Beanie. I understand this feedback. It’s ridiculous, I’m wearing a beanie and Birkenstocks.  I’m just trying to be myself on stage a little more. I’m just trying to not make sense.” He continued to tell the crowd “but I read that it’s good for your head to be hot when you sing, is that true?” I don’t actually know if there is any truth to this, but he is an incredibly talented singer, so whatever he is doing must be working.

As soon as they started their first song I immediately got chills. They started with “Wading In Waist High Water”. One of my favorites from their most recent album “Shore”. They played a decent number of songs from the same album during their set, including “Can I Believe You,”  “Featherweight” and “A Long Way Past The Past”. The vibes of the night were chill and peaceful. Pecknold’s smooth vocals, accompanied by a variety of instruments, filled the amphitheater.

After each song, the lead singer made sure to thank the audience for their applause. I was very impressed with the genuine and gracious demeanor he had with the crowd and fellow musicians throughout the night. His effort to continually recognize the artists who contributed to each song was noticeable. Making sure to share the spotlight with each musician. I was mesmerized by Morgan Henderson’s talent on the saxophone, and later in the evening with a flute. Joining Fleet Foxes on stage was horn ensemble The Westerlies. They were the perfect addition to the already talented band. This tour is not their first collaboration with the band, however, and they have been featured on multiple songs on Fleet Foxes albums.

As the night went on, the audience continued to enjoy some of their most popular songs like “Mykonos,” “Blue Ridge Mountain,” and my personal favorite “White Winter Hymnal.” As the sun began to set Robin looked out at the audience and said “Utah is very beautiful, do you guys see Austin Richard Post around town a lot?” By the reaction from the crowd, it’s possible that many people in attendance were not familiar with Post Malone’s full name. Or aware of the connection he has to Fleet Foxes. While their music is very different, local Utah resident, Post Malone has often been vocal about his love for Fleet Foxes and invited them to collaborate on a song for his most recent album.

While they did not play a cover of Post Malone’s song, they did play a cover of “Phoenix,” a song they collaborated on with Big Red Machine. They also played a cover of Judee Sill’s song from the ’70s,  “The Kiss.”

At the end of the evening after playing 18 songs, the band played a Three song encore. During the second song of their encore, they invited Tim Bernardes to join them in singing “Going-To-The-Sun-Road.” They ended the night with another favorite “Helplessness Blues,” and while I wished the concert could have gone on all night, I left the venue still in awe after their performance. Fleet Foxes exceeded all my expectations and I am already looking forward to the day when I get to see them again. 

2 Replies to “Fleet Foxes”

Thanks so much for your thorough review! I’m seeing FF in Santa Barbara tomorrow and really looking forward to the concert due to your review.

Could not be more jealous! Seeing them in Santa Barbara sounds amazing. Thank you for reading!

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Live Review: Fleet Foxes at Islington Assembly Hall, London – August 25, 2022

It had been almost five years since Fleet Foxes had played live in London, but on their long-awaited return they felt right at home; before they even started playing, figurehead Robin Pecknold was joking jovially with the crowd in a personable manner, like old friends reconnecting. The last time they were in the capital, the Seattle band had played back-to-back nights at the 5000-capacity Brixton Academy, so the 900-capacity Islington Assembly Hall was positively snug. The show was announced just a few weeks ago; a gift for fans who had been dying to see them since the release of their 2020 album Shore and a chance for the band to warm up before playing to a significantly larger crowd the next day at All Points East in Victoria Park. 

Despite the relative intimacy of the venue, Fleet Foxes played with the same gusto and volume they brought to their festival slot the next day, with Pecknold joined on stage by eight others to provide the cornucopia of sounds heard in the band’s music. For the opening song, “Wading In The Waist-High Water”, they were also joined by Uwade, who guests on the recorded version of the song and has been opening for the band on tour. Her soulful-yet-light voice opened the set over the punchy rumbling of the band like dawn on a new day, the horn blasts the sounds of the world stirring.

From there, Pecknold led the charge through the opening trio from Shore , the radiant happiness of “Sunblind” shimmering across the audience to be followed by the emphatic “Can I Believe You”, the singer’s classic brogue augmented by the towering arrangements. Fleet Foxes have evidently fine-tuned their set list, and following the opening salvo they swooped back to their origin, playing numbers from their 2008 self-titled debut. During the pristine trio of “Ragged Wood”, the flute-augmented “Your Protector” and “He Doesn’t Know Why”, the band proved that they’re not only sparkling musicians, but that they are able to play them while pulling off dynamite harmonies – the calling card for those early Fleet Foxes songs. They were as laser-beam focused on this night as they were 14 years ago when Pecknold and his scrappy blog hype band were first plying their trade and breaking through to new audiences on both sides of the Atlantic.

A nice surprise came in the middle of the night when Fleet Foxes decided to throw in “Phoenix”, the song that Pecknold recorded with Aaron Dessner and Justin Vernon’s Big Red Machine project , which made for a palette-cleansing pop moment amid the more strident art rock fare that dominated the evening. A master of mood at this point in his career, Pecknold guided the audience through the second half of the set, riding high on the finale of the ebullient classic “Mykonos”, where almost everyone on stage sang in harmony, before dismissing his bandmates momentarily for a couple of stripped-back songs.

While he has long been a confident solo performer and carved out time to sing alone during Fleet Foxes shows, his performances on this night seemed particularly special. Perhaps because of the relative intimacy of the venue, or perhaps it is just more years of experience making him a more magnetic presence, you could hear a pin drop throughout the solo “Montezuma”. This was followed by a collective holding of breath during the spellbinding cover of Judee Sill’s “The Kiss”, where his tender tones were subtly supported by mournful brass. When he invited the rest of the band back on stage, it felt a bit like a bubble being burst.

That feeling didn’t last long, as the band’s regal combination treated us to bigger, bolder and more beautiful versions of more old favourites, culminating in the life-affirming landslide that is “Grown Ocean”. At that point, with everyone in the audience dripping with sweat (not to mention Pecknold himself, with his hat he refused to remove), nobody would have felt short-changed if the house lights had gone up.

But Pecknold and co were keen to use up as much time as they could, humidity be damned. They returned post-break to play “The Shrine”, one of Fleet Foxes’ most rousing songs and a kick in the pants to any audience members who were starting to feel tired. Uwade was invited back out to join for a couple more Shore deep cuts, allowing Pecknold to take a back seat while she showed off her truly ethereal and deeply comforting . As she intoned the final words of “Going-to-the-sun Road” in Portuguese, Pecknold beaming behind her, it felt like a gentle ending to a long and glorious day. 

However, Pecknold wasn’t going to leave without giving the crowd one final old favourite, the conspicuously missing “Helplessness Blues”. It’s been Fleet Foxes’ closer for a long time now, and it probably won’t be displaced soon, as it’s a perfect encapsulation of everything they do well: resplendent singalong melodies, vibrant harmonies, dynamic structure and – most importantly – leaves you feeling positive about the world, if only for a moment. 

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The music of Fleet Foxes is not unlike the turning of the seasons or the eternally shifting tides. Even when they aren’t explicitly referencing oceans, mountains, snow-tipped pines and waist-high water along the shore, something is coded within the DNA of the band’s music that makes them feel innately connected to nature. Though their music might be best suited for concert halls, churches or really anywhere that Robin Pecknold’s stunning voice and the band’s harmonies can really soar, the real best place to see them is any outdoor venue they play in. The more tree-filled, the better. So, Edgefield Amphitheater, with its green hill and tree-lined stage, situated so that the sun sinks behind the crowd, is practically a must-see for anyone who loves concerts to not only be great , but also allow you to vibe out to their gentle-folk excellence.

It has been forever and a day since Fleet Foxes last played any venue in Portland — the last time they were here was a late-season performance on the very same stage in 2017, taking place just a couple days after the long days of summer gave way to autumn. Their set — which supported their good-but-not-great Crack-Up — seemed like it had been engineered to shift in ways that complemented where we were in the shift from sunset to twilight. Crack-Up might have been a weak record, but the band came alive in the warm fall air. Now nearly five years later, they’re back in support of the much better — and more summery — Shore , an album that can go blow for blow with Helplessness Blues most days. It can only get better if you have new, great music to work with — and this show felt like the work of a band that had finally found a comfortable groove for themselves.

Though the band’s self-titled debut still occupies a huge chunk of their sets, the star of this show was the eight songs from Shore scattered through the set. Opening, naturally, with album openers “Wading in Waist-High Water,” “Sunblind” (a resplendent and brightly colored song that is exclusively about musicians who have committed suicide — a darkly triumphant note to properly kick the show off with) and “Can I Believe You.” Then, as if saying thank you to the crowd for sitting through three new(er) tracks, they hit us with Fleet Foxes ’ classic “Ragged Wood,” “Your Protector” and “He Doesn’t Know Why,” each one eliciting a whoop! of joy from the audience. Though, really, every song got that response — this might be a tour in support of an album, but that doesn’t change the fact that the album is nearly two years old at this point. Honestly, it feels better this way — Fleet Foxes are such a comfortable band, and having so long to get to know Shore made the whole performance feel like spending nearly two hours catching up with an old friend.

The rest of the set was peppered with songs from Crack-Up and Helplessness Blues , each one deployed at precise moments — “Third of May / Ōdaigahara” sandwiched in between the new (“Featherweight”) and the old (“White Winter Hymnal,” a song that is unbelievably jarring to hear in 80-degree heat in mid-July). The two best moments, naturally, came from Helplessness classics “Grown Ocean” (which closed out the set proper) and “Helplessness Blues” (at the end of their encore), each one placed perfectly in the set. Add in the encore opener of “Tiger Mountain Peasant Song” performed by Pecknold alone, which elicited the most beautifully quiet crowd I’ve heard at Edgefield, and you have yourself a remarkable night.

The one disappointment, though, is that the show lacked the blissed-out atmosphere of their last visit to Edgefield, something that can be chalked up to the more straightforward compositions of Shore . This isn’t a knock at all, though — though it was mildly unexpected, they still fit the summer evening like a glove, with Pecknold’s captivating vocal range ringing clear through the warm July air in a way that just felt… natural. It’s easy to focus on his voice, because it’s clear that he’s technically extremely good, but experiencing it in the flesh really helps you appreciate it better. “Ragged Wood” is a killer song, but when you hear that open-throated “ WOOOOOOOOOAH!! ” that kicks the song off the song in person, it can knock you on your ass.

The most captivating moment wasn’t even a Fleet Foxes song, but rather a cover of “The Kiss” by singer-songwriter Judee Sill, who is the fourth person evoked in his dearly-departed genius sendup “Sunblind.” With a pianist and the most tasteful horn section you’ve ever heard, he harnessed the song’s power to deliver a long moment that felt genuinely arresting. Pecknold’s love for Sill is so palpable that every syllable he delivered ached in a way that only someone who wants to give her “ the type of great coronation you deserve ” could. Still, though, it’s hard to wish they had mixed the jammier songs into the mix, as the moments that captured the steadily evolving bliss of their 2017 set were few and far between. This is a petty gripe, but who among us can say they are clean of petty gripes about otherwise-incredible concerts?

Petty gripes about performances like this feel somewhat unnecessary. One doesn’t criticize a gentle breeze for lasting long enough, or bemoan the freckles left behind by a weekend spent in the sunshine. They haven’t ever been a “reinvent the wheel” type of band, but this works to their advantage, favoring the inviting over the overly adventurous. They’re like musical Hobbits in the Shire, content with a simpler life away from the chaos of the outside world. Fleet Foxes aren’t a perfect band, but what they offer — both on record and in person — feels like it transcends the need for simple perfection.

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Fleet Foxes to Finally Play ‘Shore’ Songs Live on 2022 Summer Tour

• By Daniel Kreps

Daniel Kreps

Fleet Foxes will return to the road this summer for the band’s first tour in nearly four years.

The Seattle outfit — which surprise-released its latest LP Shore amid the Covid-19 pandemic in 2020 — have scheduled a 23-date largely amphitheater U.S. trek in support of the LP, allowing Robin Pecknold and company to perform their Grammy-nominated Shore songs live for the first time.

The tour kicks off June 27 in Salt Lake City and circles the U.S. before concluding August 13 at New York’s Forest Hills Stadium. After the North American jaunt, Fleet Foxes will embark on a European tour. Check out the band’s website for ticket information.

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Fleet Foxes Tour Dates

June 27 – Salt Lake City, UT @ Sandy Amphitheater June 28 – Denver, CO @ The Mission Ballroom July 1 – Dallas, TX @ The Factory July 2 – Houston, TX @ 713 Music Hall July 3 – Austin, TX @ Moody Amphitheater July 5 – Phoenix, AZ @ Arizona Federal Theatre July 6 – San Diego, CA @ Cal Coast Credit Union Amphitheater July 8 – Los Angeles, CA @ The Greek Theatre July 9 – Santa Barbara, CA @ Santa Barbara Bowl July 10 – Berkeley, CA @ The Greek Theatre July 12 – Portland, OR @ McMenamins Edgefield Amphitheater July 15 – Seattle, WA @ King County’s Marymoor Park July 29 – Raleigh, NC @ Red Hat Amphitheater July 30 – Atlanta, GA @ Coca-Cola Roxy July 31 – Pelham, TN @ The Caverns August 2 – Minneapolis, MN @ Surly Brewing Festival Field August 3 – Chicago, IL @ The Salt Shed August 5 – Detroit, MI @ Masonic Temple Theatre August 6 – Toronto, ON @ Massey Hall August 9 – Columbia, MD @ Merriweather Post Pavilion August 10 – Boston, MA @ Leader Bank Pavilion August 12 – Philadelphia, PA @ The Mann Center August 13 – New York, NY @ Forest Hills Stadium

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Fleet Foxes  

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i saw fleet foxes after an agonizing decade long wait in st. augustine, fl on 03/02 & at the house of blues in buena vista, fl on 03/03. i drove over 10 hours in total to make these two dates happen, but i didn't feel any fatigue because i was so excited. fleet foxes are an excellent live band, robin pecknold is not a vocalist to be joked with.

his voice was crisp and clear, he carried his notes well and sang every song passionately. i preferred the show at the house of blues to the one in st. augustine, only because in st. augustine the crowd was extremely large (at least 2,000 people) and some of them showed up to fucking talk.

seating was also a debacle...just ugh. there were seats, but then there was a standing pit where an orchestra would normally *sit* - created viewing issues. it meant those of us who sat in the front had to stand, meaning everyone behind us either couldn't see or they would have to stand too - creating a chain reaction.

house of blues was much better, i got much closer and the audio was much clearer. i enjoyed being able to observe skye skjelset & morgan henderson. the interaction between the crowd and the band was also much better. it was a much more attentive crowd, many of whom had also waited almost ten years to see them.

they gifted us english house at the house of blues, i will never forget that performance! i wanted to plead for kept woman but i know basically nobody cares to hear it ha. had the time of my life, would repeat it eagerly.

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It probably goes without saying that catching the Fleet Foxes at United Palace in NYC was a huge highlight for me, less than a year before they stopped touring and Joshua Tillman left the band to go solo. These guys are unbelievable musicians, as evidenced by the number of acts they are associated with while they are on a (hiatus? suspension?).

The mark of a great live act is one that takes an amazing album and makes it even better, and that's pretty much what these guys do for every track. Beyond the fact that their sound lends itself to being played live, they do a great job expanding their sound without getting too far away from what they've recorded to become unrecognizable.

While you wait for these guys to announce more shows - make sure to track Father John Misty (Tillman's act, which is as good as these guys live) and Poor Moon, the ongoing side project for Christian Wargo and Casey Wescott. They might not play "Mykonos" but their ability to put on an amazing live show with great sound is on display. And if you run into Robin Pecknold on the Columbia University campus - tell him to play some NYC solo sets!

The Fleet Foxes show at the Hollywood Bowl on 9/23 was amazing.

Seven additional musicians joined the band for pretty much the entire show and really added an extra dimension to the band.

The sound was incredible and Pecknold's voice was stunning.

I had seen Fleet Foxes just a few nights earlier in Monterey CA (Golden State Theater) where the sound was just awful and it ruined the show. Clearly that was a problem with the theater and not the band.

It took an usually long time after Beach House finished to get the stage ready for Fleet Foxes. And the only disappointment of the night was that Fleet Foxes had to end their show promptly at 10:45PM (bowl curfew). There was no encore.

I wish they would have come out earlier so they wouldn't have had to cut the setlist short.

Otherwise an A+ show.

Great concert in Omaha, NE. The band was very nice to the crowd. They had nice things to say about the mid west (Some let you know they would rather not be here). Sound was just right (not too loud). While I and others don't like the new album the crowd loved songs from previous albums. Fleet Foxes played 3 songs for their encore. There was an after concert party the band said would attend but I did not go. All in all the concert was great and Fleet Foxes performed an excellent show and was really there for the audience. I was very much appreciative of this great concert because I drove two hours to see this band.

Fleet Foxes were a sight for sore eyes. So great to see them in concert. Robins voice is just amazing live as on record. They played a long set full tracks from all three albums. Songs from their debut shined the most. My only complaint is they neglected to play several of the best tracks from their second album in favor of the more experimental songs. The song helplessness blues lyrics have even more meaning in today's world than it did in 2011. I would suggest seeing them live to anyone that enjoys indie folk music. They are a must see!

Biggest disappointment is the only way I can describe it. The Fleet Foxes held and hold such a crucial place in my heart and helped shape my personhood. But GOD this was a let down. It felt like they didn't even play complete songs, sometimes the set design n lighting was good but a lot of it was seizure inducing for such mellow music. The harmonies are always great but somehow they seemed to be absent. I dunno, maybe it's me but I mostly felt like they were background noise - not the main event.

i thought the band sounded amazing. They played a very mellow set, that revolved through the catalog very well. Hard for me to critique the sound and lighting as we were stuffed in the corner by the left bar. HOB can be a great place to see a show, unless it is sold out on a saturday night. I think they pack to many people in there for sold out shows and make it hard to enjoy. But the Fleet Foxes were great and I surprisingly enjoyed the opening act as well.

So glad to have seen Fleet Foxes in Paris few years after Bataclan and Salle Pleyel.

Robin Pecknold's voice is always fantastic and the whole band is amazing.

They're not so talkative unfortunately, but the rare conversations with the crowd were fun :)

They have played a loooot of songs including unplugged/revisited ones from previous albums : Montezuma, Your Protector, Blue Ridge Mountains, Mykonos...

Waited quite some time but eventually managed to see Fleet Foxes with the added bonus of being at Brixton Academy, my favourite venue.

Still trying to figure out if I like he latest album, nonetheless, the gig delivered a collection of tracks from all their albums ( check set list ) which was a delight. No talking just playing, instrument Changes during songs was an art in its self.

One of the best shows I've ever been to. Everything was on point. Long, satisfying set list, excellent energy from the band, sound was mixed well. Robin's unique amazing voice was a pleasure to witness first hand. Super talented band, and then venue was what one would expect from thefolks at ACL. If they are coming anywhere near your home, get off your ass and go check them out!

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Folk/Country

September 23, 2020

For Robin Pecknold , the music of Fleet Foxes has been a coming-of-age story. Pecknold founded the band in Seattle with childhood friend Skyler Skjelset when they were just about 20 years old, making unpretentious yet studied folk music and quickly signing with Sub Pop, who released the band’s pair of landmark 2008 releases, Sun Giant EP and their self-titled debut . Fleet Foxes hid their youth in plain sight, singing fables and channeling musical influences—like Judee Sill and the Byrds —that signaled nous and maturity. By 2011, a 25-year-old Pecknold began to show his age with the existential Helplessness Blues before disappearing and returning , at 31, with the more confrontational Crack-Up . Over the course of just a few releases, you could trace the arc of a songwriter shedding his past, finding his voice, and making more personal, complex, and, often, brooding music.

Shore , the fourth album from Fleet Foxes, brings gratitude back into the fold as Pecknold ascends to a graceful new plateau. The record’s mood is born largely from existential worries and the shadow of death, common concerns of Pecknold, who, now 34, has spent his career transforming anxiety into euphoria with towering, wall-of-sound choruses that belie the unease that inspires them. Career-making songs like the barnstorming “ Helplessness Blues ” were strengthened by a sense of overcoming despair, the feeling that we could all stare down obsolescence and say, That’s OK, I’m OK . Distress does not disappear entirely on Shore ; it’s just accepted and worn, making for an album that is musically adventurous and spiritually forgiving, like it’s constantly breathing in fresh air.

On Shore , being grateful also means staying true to yourself and expressing what comes naturally. The album is bright and open, recalling, at times, the sunniness of their early songs, as well as the lighter moments of 2017’s Crack-Up, like “ Fool’s Errand .” Instead of turning away from major-key melodies and blissful vocal harmonies, Pecknold leans into musical happiness on songs like “Sunblind” and “Young Man’s Game,” among the most jubilant entries in the band’s catalog. On the latter, Pecknold acknowledges the futility of faking it, singing: “I could worry through each night/Find something unique to say/I could pass as erudite/But it’s a young man’s game.” Reinvention, he implies, is deceitful; refinement and reflection, instead, are the paths to progress.

The idea of refinement is crucial to Fleet Foxes because, on the surface, the band sounds remarkably similar to how it did 12 years ago—without feeling like it’s retreading past sounds or themes. The resurgent Crack-Up demonstrated Pecknold’s evolution as a lyricist and songwriter, someone who could write stirring couplets while commanding extended metaphors and maintaining a degree of writerly distance. The album also contained more intricate arrangements, something that Pecknold has carried onto Shore , where the compositions are even more textured and buoyant. The new album, which Pecknold performs almost entirely by himself, is lively, as if he has broken open previous albums’ ambitious centerpieces (namely “ The Shrine / An Argument ” and “ Third of May / Ōdaigahara ”) and spread bits of those proggy endeavors across the whole record. “A Long Way Past the Past,” for instance, layers horns and a shifting guitar line beneath Pecknold’s harmonies and words about letting go of regrets. The crisp production details give Shore a natural feel, as if the guitars, drums, and horns warble and float in the breeze alongside the birds, whose chirps lead “Maestranza.”

Elsewhere, there are explicit nods to contemporary classical music, as on “Jara,” which features hocketing by Meara O’Reilly , and “Cradling Mother, Cradling Woman,” which pairs O’Reilly with a snippet of Brian Wilson counting to resemble Philip Glass ’ Einstein on the Beach and, in its sampling, also recalls the early work of Steve Reich . These moments don’t last long, serving as intros to their respective tracks, but they do signal Fleet Foxes’ continued willingness to experiment and venture beyond the confines of their reputation as a folk band whose music sounds as accessible and pleasant coming out of the speakers at Whole Foods as it does to Post Malone .

In composing some of the most vibrant music of his career, Pecknold also opens up as a writer, returning a bit to the nature imagery of his early work while turning his poeticisms into actual reflections of his thoughts. On the striking “Sunblind,” Pecknold shares his love for late songwriter heroes, including Richard Swift , John Prine , Bill Withers , Judee Sill, Elliott Smith , David Berman , and Arthur Russell . He mourns their loss and thanks them for leaving behind the gifts of their music, while also connecting their art with a life lived fully. “I’m gonna swim for a week in/Warm American water with dear friends,” Pecknold sings, alluding to Silver Jews’ 1998 opus and juxtaposing the jagged brilliance of Berman’s songs with the physical act of “swimming high on a lea in an eden.” “Sunblind” is made all the more exhilarating by how Pecknold arrays the darkness of American Water and the ocean’s vast beauty, acknowledging the former and embracing the latter. He returns to Berman on the sedate closer “Shore,” specifically recalling the day of the songwriter’s death. At the song’s end, Pecknold repeats, “Now the quarter moon is out,” again turning to the landscape in mourning.

Pecknold’s appreciation for life, his joy in spite or because of death, continues throughout Shore . Dark figures creep into the edges of the songs—e.g., “These last days/Con men controlled my fate” from “Maestranza”—as if their invitations to give into self-pity or hate are necessary to propel Pecknold toward music that’s rich and fulfilling without becoming overly sentimental. Every moment feels earned. The album’s climax arrives on the back half of the propulsive “Quiet Air / Gioia,” where Pecknold exalts, “Oh devil walk by/I never want to die.” It’s a consciously excessive declaration that does nothing to obscure our greatest fear, earnest and vulnerable in its very willingness to make the admission.

Fleet Foxes’ music has never been overly heavy, but each release brings expectations . Pecknold said that he wrote some of Helplessness Blues to have new material to play on tour with Joanna Newsom . And the tangled, prog-folk of Crack-Up , of course, came after a six-year hiatus, landing like a great unburdening of every idea gathered during Pecknold’s time as a student at Columbia University. Shore may be the first Fleet Foxes album without such a burdensome weight, arriving somewhat by surprise, without a long layoff, and into a cultural landscape that no longer foregrounds indie rock at the center of the musical universe. There’s a freedom to it that shows in the lithesome “For a Week or Two” and “Thymia,” or at the beginning of the record with the singing of Oxford student Uwade Akhere , suggesting that Pecknold does not feel the need to lead the way or come back immediately with some massive statement. Shore looks to the world and realizes there is already enough, as if staring into a darkness and responding with beauty, acceptance, and light.

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Fleet Foxes: Usher Hall, Edinburgh, August 30, 2022

A spellbinding evening from Robin Pecknold and co

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The cure to release new songs for environmental charity, bonnie ‘prince’ billy, richard dawson, laetitia sadier: end of the road 2024 – day 1, oasis – definitely maybe 30th anniversary reissue, nick cave & the bad seeds – wild god, gillian welch & david rawlings – woodland.

For the last few tours, Fleet Foxes have closed their live sets with “ Helplessness Blues ” – a song about Robin Pecknold ’s struggles to overcome existential worries about his place in the modern world. “ What’s my name? What’s my station? ” he sings. “ Oh, just tell me what I should do ”. In the 11 years since the song was first released, you could argue that the conditions that first inspired Pecknold to write “Helplessness Blues” have become more pronounced; but the man singing the song in 2022 is evidently in a different place entirely. Indeed, watching Pecknold bobbing and bouncing around the stage tonight with infectious, Tiggerish enthusiasm, you could be forgiven for thinking that the knotty soul-searching of Helplessness Blues and Crack-Up , its successor, had happened to someone else.

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It transpires that Shore – the band’s most recent studio album – was a turning point for Pecknold. Having finally worked through his anxieties, the record was awash with positivity, gratitude and optimism. Even during lockdown and surrounded by the death of his musician heroes, Pecknold refused to turn inward and instead threw himself wide-open. In the midst of all this, the old stereotype of Fleet Foxes as bucolic fabulists resurfaced on Shore – here was an album that celebrated the restorative power of the seasons – “ one warm day is all I really need ” – as if the elements were perhaps enough to keep his earlier unease at bay. Following Pecknold’s coming of age through his music – from the guileless openness of their debut, through the insecurities of Helplessness Blues and the flux of Crack-Up – Shore was as much about Pecknold recalibrating what Fleet Foxes meant to him as it was about us, in turn, recalibrating our relationship with Fleet Foxes.

In a way, all these Robin Pecknolds are present tonight. Physically, dressed in a camouflage jacket and beanie hat, he doesn’t look much different from the first time Fleet Foxes visited the UK in 2008 (his hair is shorter and the beanie is smaller, though). Meanwhile, as the band revisit the rhapsodic harmonies of “ Ragged Wood ” and “ White Winter Hymnal ” from the debut, channel the epic beauty of “ The Shrine/An Argument ” from Helplessness Blues or map out the elaborate sonic terrain of “ Third Of May/Ōdaigahara ” from Crack-Up , the arc of his creative progress is clearly laid out. It occurs to me, part way through a free squall of horns on “ Third Of May/Ōdaigahara ”, that no matter how challenging or involving Pecknold’s songs can occasionally be, the fundamental charms of his band shine through.

“ Third Of May/Ōdaigahara ” is a mid-point in the set, actually, so I’m getting a little ahead of myself. They’d opened with the first three songs from Shore – “ Wading In Waist-high Water ” (with Uwade Akhere , their tour support, on vocals), “ Sunblind ” and “ Can I Believe In You ”. Considering Pecknold largely recorded Shore himself, this tour is the first time we’ve heard the full band arrangements, which naturally sound fuller. The presence of Andy Clausen , Chloe Rowlands and Willem de Koch from brass ensemble the Westerlies further bolsters the sound – but never to the point where they overwhelm the songs. For a band that expressly strives to present songs of ravishing prettiness, they are also commendably robust. They circle back to their debut for a brace of songs before stretching out for the longer, more expansive songs. Flanked by his right-hand man, Skyler Skjelset , Pecknold leads the band through the song’s winding contours and digressive segments, reinforcing the point that – however much Pecknold is driving this – Fleet Foxes are a communal endeavour. Incidentally, props to Morgan Henderson – clearly at the receiving end of Pecknold’s ambitious musical vision – who is tasked with playing flute, stand-up bass, tambourine, bass and saxophone at various points during tonight’s set. Meanwhile, dressed in slim-fitting black shirt and trousers, Skjelset acts as both guitarist and bandleader; one minute, coaxing bright, clean lines from his guitar and the next communing with the Westerlies on the harmonies for “ White Winter Hymnal ”. There are some fine harmonies, too, from bassist Christian Wargo .

“ … Hymnal ” acts as a kind of buffer for the rest of the main set. The second half is rangier somehow, featuring a version of “ Phoenix ” – from Big Red Machine ’s How Long Do You Think It’s Gonna Last? album – and an acoustic section from Pecknold which includes a cover of Judee Sill’s “ The Kiss ”. Driven by Casey Westcott ’s gently swung keys and Chris Icasiano ’s fluid drumming, “Phoenix” consciously recalls the soulful vitality of The Band – “ How do you bear the full weight? ” sings Pecknold, as if you need further clues as to what’s afoot here. The Big Red Machine collaboration, of course, finally brings Pecknold into direct contact with The National’s Aaron Dessner and Bon Iver’s Justin Vernon – contemporaries among the early 00s collegiate indie rock explosion. More than most, Pecknold and Vernon’s trajectories, meanwhile, have been broadly similar: from hirsute backwoods beginning through their struggles with success and complex sonic experiments. While “ Phoenix ” is one of the stand out tracks on How Long Do You Think It’s Gonna Last? , I can’t help but wonder how a more comprehensive country soul Fleet Foxes record would sound.

The rest of the set swells and eddies towards Helplessness Blues ’ closer, “ Grown Ocean ”, a thrumming, beautiful song where Pecknold – reborn as a “wide-eyed leaver, always going” – finally finds his peace. Pecknold returns for a sun-lit “ Montezuma ” before Uwade joins them for a warm, communal singalong through “ For A Week Or Two ” and “ Going-to-the-Sun Road ” and, finally, “Helplessness Blues” itself. In a way, it feels like we’re at the end of a protracted Phase One for Fleet Foxes – where the business begun on their debut album has reached some kind of natural resolution on Shore , with their tide-like ruminations on ageing, loss and uncertain times. Where next..?

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Fleet Foxes played:

Wading in Waist-high Water Sunblind Can I Believe You Ragged Wood Your Protector He Doesn’t Know Why Featherweight Third Of May/ Ōdaigahara White Winter Hymnal Phoenix Maercstapa Mykonos Blue Spotted Tail The Kiss A Long Way Past The Past Drops In The River Blue Ridge Mountains Grown Ocean

Encore: Monetezuma The Shrine/An Argument For A Week Or Two Going-to-the-Sun Road Helplessness Blues

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Fleet Foxes

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