Concert Review: Searows at Webster Hall, NY

The silence in between Searows’ songs feels like an expansion of the atmosphere, not an inhibitor. In the place of traditional ambient tones and excruciating stage banter in between songs, Alec Duckart, the artist known as Searows, tunes his guitar, keeping the dialogue to a minimum. Occasionally, he will thank the audience for coming, tell everyone to let their imagination run wild, or give a cheeky hint towards the last song being “the very last song, with no more after this one” (clearly in jest). Duckart’s awkwardness is part of what makes his work so appealing on the stage, opting to let the music speak without forced words. The real conversation between the artist and the audience occurs without sound waves, bringing a universe within the live show that wouldn’t exist otherwise.

Searows has been riding high since the release of his second full-length record in January, Death In The Business of Whaling. The piece’s title was inspired by a line in Moby Dick, and the record utilizes a combination of Melville-style storytelling and alternative folk songwriting to illustrate a subtle yet tempestuous storm of emotions. With weather similar to the atmospheric, reverb-soaked stories of the Pacific Northwest, the Portland-based music project brought a beautifully overcast sky to Manhattan as fans lined up outside Webster Hall. 

Searows’ Death In The Business Of Whaling set focused on tracks from the titular album, playing through the entire record by the end of the night. The beginning of the set correlated with the order of the tracklist of the record, with songs like “Belly Of The Whale,” “Kill What You Eat” and “Photograph Of A Cyclone” setting the universe up beautifully. Other favorites for the audience included the standout single “In Violet” as well as the concluding track “Geese.” The orchestration of these records illustrated how beautiful and rich in detail they are, with Marlowe Ostara utilizing a bow to play the bass on select tracks.

The setlist wasn’t confined simply to the tracks on the album, however. Throughout the night, Searows pulled a few deeper cuts and fan favorites, including “Coming Clean” and “Keep The Rain” from his previous record Guard Dog. The inclusion of a new version of End Of The World’s title track showed how this version of the Searows project feels much closer to where Duckart wants it to be than when he recorded the piece. Of course, no Searows set would be complete without the viral hit “House Song” which garnered the most applause of the night.

Throughout the night, there was an exhibition of trust between all parties involved, and it turned a large crowd of people into an intimate gathering. The way Duckart plays with these forms of space and sound is art in itself, and it’s alluring to see the magic that comes from the speakers and the atmosphere. Wherever Searows heads next might bring a journey full of storms and waves, but the destination will be worth the odyssey.

Searows is about halfway through the Death In The Business Of Whaling tour, with many more chances to catch an enchanting set coming towards the end of the month. You can experience the magic at any available dates here as well as listen to the stories in recorded form here.