All photos by James Broscheid
Built to Spill operates as a refreshing anomaly. To witness the band in their current iteration at Tucson’s gorgeous La Rosa was to witness the dissolution of the rock-star mythos, replaced instead by a utilitarian dedication to the craft of sound. The band emerged casually, blurring the line between road crew and artist as they set up their own gear. There was a distinct mindfulness to this process—a tweaking of pedals and adjusting of amps that felt less like a chore and more like a grounding exercise. When the house lights finally dimmed, it was not a signal for theatrics, but a simple tipping of the hand. They ripped into the opening chords of “Strange” (off their 2001 Warner Bros. LP ‘Ancient Melodies Of The Future’) as if it were nothing, yet the result was profoundly something.
The current lineup — featuring the stoic architect Doug Martsch, bassist Melanie Radford, and drummer Teresa Esguerra — has achieved a level of synergy that feels both loose and mathematically precise. Esguerra’s drum kit was positioned stage left but angled transversely, allowing her to face her bandmates rather than the crowd. This created a closed circuit of communication, an intimate rehearsal-room dynamic projected onto the stage. During the driving rhythms of “Stab” (‘There’s Nothing Wrong With Love’, Up Records, 1994), and “Conventional Wisdom,” (‘You In Reverse’, Warner Bros., 2006), Possessing a formidable presence, Esguerra’s playing was characterized by terrifying, razor-sharp competence.
At stage right, Radford acted as the kinetic counterweight to the rest of the band’s reserve. Her performance was defined by infectious enthusiasm and high kicks, radiating the energy of someone perpetually amazed to be inhabiting that space. Sonically, she is indispensable; on tracks like “Else,” (‘Keep It Like A Secret’, Warner Bros. Records, 1998) she navigated the higher registers of the fretboard, her bass lines swelling to fill the negative space left by the absence of a second guitarist. Her vocal lead on the Heartless Bastard cover of “The Mountain” proved equally compelling. At the center of this storm stood Martsch. He radiated a chemistry that was simultaneously placid and electric. Eschewing stage banter almost entirely, Martsch let the setlist speak as the primary language of the evening.
The selection of songs highlighted the band’s evolution from rough-edged indie rock to a more mature, sophisticated storytelling sound. Newer tracks like “So” and “Hindsight” (from ‘When the Wind Forgets Your Name’, Sub Pop, 2022) sat comfortably alongside the classics, showcasing a band that honors its history without being trapped by it.
However, the evening’s peaks were defined by the sprawling, architectural improvisation of the older catalog. “Kicked It in the Sun” (from ‘Perfect From Now On, Warner Bros. Records, 1996) was a centerpiece of the night—a masterclass in dynamics where Martsch’s guitar work ranged from sparse, crystalline precision to J Mascis*-level walls of shredding distortion. Similarly, the menacing slow-burn of the ‘Perfect From Now On’ track, “I Would Hurt a Fly” allowed the trio to lock into a hypnotic groove, building tension until it physically vibrated the walls of La Rosa. The band also displayed their eclectic influences, in addition to the cover of “The Mountain,” there was a nod to Martsch’s own history with a rendition of *The Halo Benders’ “Virginia Reel Around the Fountain,” (from their 1998 LP ‘The Rebels Not In’ on K Records).
The encore provided a microcosm of the Built to Spill experience. It began with an unscripted moment of intimacy: Doug returning alone to perform “The Weather,” (‘Ancient Melodies Of The Future’, Warner Bros. / Up, 2001). Stripped of the rhythm section, the song felt fragile and honest, a quiet breath before the final plunge.
The full band returned to shatter that silence with the chaotic, improvisational fury of “When I’m Blind,” (‘Untethered Moon’, Warner Bros., 2015) before closing the night by seamlessly transitioning to the anthem “Carry the Zero,” (‘Keep It Like A Secret’, _Warner Bros. Records, 1998). As the final notes of that definitive track rang out, the band remained true to form—humble and unpretentious to the last second. Built to Spill was a masterclass in understated transcendence. They are the rare band that invites the audience to watch them work, stripping away the ego to reveal the raw machinery of the music.
Setlist:
Strange
Reasons
So
Kicked In The Sun
Else
Hindsight
Stab
Conventional Wisdom
Fire To Dust
The Mountain
I Would Hurt A Fly
Virginia Reel Around The Fountain
Liar
Encore:
The Weather
When I’m Blind
Carry The Zero
Remaining tour dates:
Nov. 20: Pappy & Harriet’s – Pioneertown, CA
Nov. 21: Harlow’s – Sacramento, CA
Nov. 22: Gundlach Bundschu Winery – Sonoma, CA
Nov. 24: Wow Hall – Eugene, OR
Nov. 25 & 26: Neptune Theatre – Seattle, WA
Nov. 28 & 29: Revolution Hall – Portland, OR
Dec. 14: Bearsville Theater – Woodstock, NY
Dec. 16: The Warehouse at FTC – Fairfield, CT
Dec. 17: Ottobar – Baltimore, MD
Dec. 18: Union Transfer – Philadelphia, PA
Dec. 19: Built To Spill with Guerilla Toss – Rockville Centre, NY
For more information, please visit Built To Spill, Sub Pop, Instagram and Bandcamp.
