I first saw Portugal the Man back in the summer of 2006, opening for some very mediocre bands, in a tiny club. They had caught my attention with the release of their first album Waiter: “You Vultures,” and my young ears had never heard anything quite like it. Their oddly-captivating live show had also gotten my attention, and put it in a strangle hold. Back then they were still a young band, and I had no idea what they would be capable of accomplishing, or what the future would have in store for them. Now four short years later, and five full-lengths, yes five full-lengths later (and various EPs and digital singles), Portugal the Man have established themselves as living proof that a band with a driving work ethic can release amazing music, without compromising their creativity.
The band dropped American Ghetto on March 2nd, which was the follow-up to magnificently Paul Q. Kolderie (The Pixies, Radiohead) produced, and well received, The Satanic Satanist. The Satanic Satanist was only released in July of 2009, which is an insanely short time-frame to release a follow-up when you put things into perspective, but something that Portugal the Man has done consistently throughout their entire career. For a band to put out an album every year (two in 2009 if you include The Majestic Majesty which is the acoustic accompaniment to The Satanic Satanist) in the awful climate that is the music industry today, is an accomplishment all in itself which should be applauded. This rings especially true when every album grows exceptionally stronger than the last.
American Ghetto picks up right where The Satanic Satanist left off, which is a blend of progressive indie, and smooth electronic drum machines that meets some sampling and looping. However, where The Satanic Satanist was more of a fast-paced, driving rocker of an album, American Ghetto slows things down a bit gets way more soulful. Tracks like “Fantastic Pace,” “The Pushers Party,” and “Some Men” are fine examples of vocalist John Baldwin Gourley utilizing his voice and creating unique vocal melodies that seem to come out of nowhere, but yet will be stuck in your head for days. His vocals on this album sound more like the kind that can be found on an R &B or hip-hop record. It’s incredibly intoxicating.
Other tracks like the album’s opener “The Dead Dog,” “60 Years,” and the closer “When the War Ends,” are much more guitar and riff heavy. Various synth and keyboard arrangements are also scattered throughout the entire record to act as the glue, and brings everything together. A song like “1000 Years” takes all of the various elements that can be found on the album and embodies what I feel is the entire spirit of the record.
If you’re still reading this rather lengthy post, and haven’t already guessed, this is one of my favorite bands whom I deeply admire. Their ability to release so much music, with so much substance is unparalleled. I cannot think of another band today for whom I share this admiration for. I have seen Portugal the Man six times and will see them again for a seventh later this week, which is something I am very much looking forward to. They have gone from opening small dive bars to headlining and selling out substantially larger venues, which will take them all the way to California this April to play Coachella. They are true artists and deserve all of their much earned success. Go do yourself a favor and buy American Ghetto, or simply any other of their releases here. You will not be disappointed.
Tour Dates:
3/11 Orlando, FL @ The Social
3/12 Elkton, FL @ Harvest of Hope Festival
3/13 Atlanta, GA @ The Earl
3/18 Washington, DC @ 9:30 Club
3/19 New York, NY @ Highline Ballroom
3/20 Millvale, PA @ Mr. Small’s Theatre
3/21 Cincinnati, OH @ 20th Century Theatre
3/24 Columbia, MO @ Mojo’s
3/26 Denver, CO @ Bluebird Theatre
3/27 Vail, CO @ The Sandbar
3/28 Aspen, CO @ Belly Up Aspen
4/13 Eugene, OR @ WOW Hall
4/14 Santa Cruz, CA @ Rio Theatre
4/17 Indio, CA @ Coachella Music and Arts Festival
4/22 Anchorage, AK @ Bear Tooth Theatre
