Behind The Lens: Kansas City Loves Franz Ferdinand
Thursday, April 3 found me, almost casually, commuting from Lansing, KS, to Kansas City. I had just finished photographing Drifter (stoner doom metal from Lawrence), freeing the inmates of the Lansing Correctional Facility for 35 minutes.
When I left at 7:45 p.m., I thought I had until 9:30 p.m. to be in the photo pit at the Midland. At 8:59:33 p.m., as I locked the last lens to my second camera, the lights dimmed and Franz Ferdinand took the stage. All casual preparations switched to rushed setting adjustments trying to accommodate the blaze of newfound light. Alex Kapranos (lead vocals, guitar) immediately engaged with the crowd moving back and forth across the stage with his well-worn Fender Telecaster Deluxe.
Franz Ferdinand are touring on “The Human Fear,” their sixth studio album. It’s crazy for me to consider the first time I shot them was 20 years ago, and I was just as excited to capture this show as that one. Being jaded is not something I would subscribe to myself, but I’ve seen a lot and know it is hard not to fade over the years as performers.
The whole band seemed so at ease and friendly. I received smiles through my lenses from Alex, Bob Hardy (bass) and Audrey Tait (drums). Dino Bardot (guitar) didn’t smile outright, but you could see a glimmer in his eyes as he played. I consider that a Highland grin. Julian Corrie (keyboards, guitar) was robbed of the chance since he was anchored behind the keyboards for the first three songs and was too far away.
Alex played the consummate entertainer with his sport jacket, slicked back hair and patent leather loafers. He tactfully executed his signature jumping jacks, employed the best of rock and roll and crooner moves and was rewarded with fervor from the crowd whom he adorned with the pet name Kansas City Cats. Is this a nod to “Cats” on the new album? I think so.
For “Black Eyelashes,” Kapranos strapped on a bouzouki and brought Rembetika underground-tinged music to The Midland. The KC Cats erupted in a roar at the first notes of “Michael.” There was so much energy that the song felt like it was being played at 1.5 speed. With all three guitar players deployed at once, the song was raucous. I went back and listened to the studio version – I was wrong about the speed, it just came across that way live. The concert kept getting more electric.
Fifty minutes into the performance I noticed the following spots. That’s rock and roll. It also explains the panic I initially had with my camera settings. How could so much time have passed in a blaze? Before “Take Me Out,” Alex asked in the kindest way for everyone to put away their mobile phones and live in the moment. Most complied. Instead of capturing shaky video footage, the Cat's voices rose above the PA for the whole song like a backing choir. That just gives me chills. Kansas City loves Franz Ferdinand.
Alex totally owned the stage, but also left room for each musician to revel in the spotlight. Like the audio mix, it was perfectly balanced. At the slightest request the crowd sang, clapped in time and swayed. No coaxing needed. Throughout the set the singer talked to the crowd. He threw out compliments to the Cats, the city and even 90.9 The Bridge for having them in their studio for an intimate 909 Session the day before the show.
Everyone stayed in place for the 1-minute-and-30-second break before the encore. A reinvented “40’” greeted them. On the last song, “This Fire,” Alex introduced each band member with reverence. Each was individually subjected to deafening screams of appreciation. During the long intro, the room started clapping in time and by the chorus, were singing boldly. Julian and Dino engaged in extended guitar interplay. Asking if the crowd, “Are you with me tonight?”, Alex requested everyone to kneel down. Bursting back into the song, the room jolted up for the finale. At 95 minutes, the band took a bow and left the stage in a wash of applause.
