…continued from last post

Following a first set built around the new “Tree House Fire” EP, Nits opened their second half of their concert with the ebullient title track to 1994’s “dA dA dA.” While the lyrics always had the melancholy that was the band’s foundation, the music it was wrapped in was decidedly life-affirming and vivacious. Naturally, it was followed by the somber atmospherics of “Two Skaters;” the first of three tracks [and the least typical] from their crucial album “In The Dutch Mountains.”

Next came a delicate number that was among my first favorites by the band, “The Bauhaus Chair,” from “Hat.” Having been in The Netherlands for several days now, I could only marvel at all of the Bauhaus architecture to fill my eye; giving their references to the design movement that informed my own training [as well as most of their early sleeves] an even fuller resonance.

Prior to the trip, I’d been playing many of their later period albums to revisit songs that I hadn’t heard in a while and I was taken in particular by 2017’s “Angst” and was excited to hear a pair of songs from that opus back to back. The title track “Yellow Socks + Angst” was one of the highlights and a welcome addition to this evening’s program. Following it was the tableaux of high contrast stakes informed “Lits-Jumeaux,” [twin beds] with its bifurcated narrative of a Jewish and Nazi young boy leading parallel lives, separated by a hair’s breadth, with one significant exception.

The heartbreaking title track to 2005’s “Les Nuits” followed before an exultant “J.O.S. Days” from “In The Dutch Mountains” manifested. With Henk giving it every ounce of energy in his delivery. Than came the one song new to me this evening, “Beromünster” from 2022’s “Neon.” Alas, the band’s studio and warehouse burned down shortly after the release of this so I can’t order it from their website and must find a third party copy one day.

Then, the moment I’d been fervently waiting for arrived when the sublime “Cars + Cars” from “Ting” made its appearance. My entire persona was a hair on end as the entrancing piano rondo from the fingers of Stips wove its magical spell before the exquisite melancholy of Hofstede’s vocal transported us into a realm of timeless limbo as I forgot to breathe. The projections on the stage flats showing footage of night traffic that was as hypnotic as the melodies and rhythms that conspired to make us swoon.

And that was the end of set two among rapturous applause. The band exited the stage for mere seconds before returning with another song I’d never heard Stips play, “Ivory Boy” from 2000’s “Wool.” Then came the requisite “In The Dutch Mountains;” their iconic hit single and calling card to the hometown crowd. When I told the owner of the houseboat where we were staying in nearby Krommenie why we were in The Netherlands she didn’t immediately recognize the name Nits until I said “In The Dutch Mountains,” and then I got the “aha” of acknowledgement. Such is the power of a hit.

As must-play hit singles go, it towers over the releases of other favorite bands such as “If You Leave” or “Alive + Kicking” that occupy a similar place in the careers of OMD or Simple Minds. While it is rousing and anthemic, it speaks of an essential mystery and paradox [there are no Dutch mountains – the nation is partially below sea level] utterly missing from the typical “hit single” from bands I love. It knows no compromise but is instead a vital part of the band’s artistic development. And Stips sampler hook of “mountains” was utterly iconic, especially in the song’s climax as repeated orchestral stabs joined the sample at ever quickening tempos.

With that the full house was on its feet again for the evening’s final encore, the tender “Adieu Sweet Bahnhof.” And then it was over. The concert that we had been waiting for for over two decades had happened. We obsessed over the notion of traveling to The Netherlands to see Nits for so long and now, after making the decision to do it, and a year’s worth of work raising the budget to do it, we had arrived at the conclusion of the goal. And in the realization of the dream came the reality that live, Nits were even better than the admittedly fantastic albums were.

The three band members were, for a start, a masterclass in how to fill the venue with wondrous sound. Drummer Rob Kloet is a time keeper of immaculate percussive force. A drummer with jazz chops playing a meticulous, yet emotive Art Pop of the kind that few bands are making these days. Offering a paradoxical blend of power and restraint that end up making him all the more powerful than he would be without it.

From singer and guitarist Henk Hoststede flow the rivers of emotion that the songs are built from; which are by turns beguiling and heartbreaking. Often in the same song. In spite of his health issues, this evening he was fully committed to inhabiting the songs fully; even adding percussion to Kloet’s efforts by playing parts of the stage set and flats with mallets! Physically bonding with the songs while onstage with his movement and staging.

And finally, keyboardist Robert Jan Stips is a rare example of enormous musical talent coupled with the utmost in taste. He could be overplaying to fill out the large sound that three people are responsible for onstage. But that does not happen. He never crosses the line into grandiloquence, yet his musicality rivals that which I found in Bernie Worrell. Simply put, the man is a marvel.

This evening the trio were abetted by the three backing vocalists who added their harmonies to much of the music and also by the Telman brothers. Paul, who mixed the sound to effortlessly clear and pure that the audience by and large were utterly silent during the performance to better absorb everything that was happening sonically. And tellingly, no earplugs were necessary to protect us from the ravages of brutal excess. The highest praise that I can give a concert experience. And then Tom bathed the performance in light, color and moving images such as were projected onto the tree/house/fire flats onstage. The 50 years of the band’s music and decades of their team working with them in concert made for a moving, magical experience.

The decision to undertake the huge investment of attending this show was paid dividends by the band in performance that lavishly rewarded our decision. So much so that the first words from my wife after the show were “why didn’t I also buy tickets for the next night?” When she bought the tickets, there was only a single night at the Carré mooted. It was some time later that the second show was added and truth be told, I was unaware of this until a month or two ahead of the gig when ascertaining the particulars of the time schedule for the evening. I had to admit, immediately afterward, I was ready for another evening with this band! Would that we had the presence of mind to have bought another set of tickets for the 14th as well.

And finally, not only was the show a long time coming for the two of us, but as we often do, we had the good fortune to be attending the show with good friends in the communion of music. Chasinvictoria is friend I’ve known for 46 years and with whom I’ve seen countless amazing shows with. Seeing a show this crucial without him would almost seen unthinkable. And then there were Gavin and Chris, who we’d be meeting in person for the very first time at this event! How gratifying to have this event to bring us together after a decade of comments, emails, and video conferencing.

Set List

Set 1:
Month of May
Big Brown Building Burning
The Tree
The Bird
The Attic
The House
A Touch of Henry Moore
The Wind Has No Clothes
The Infinite Shoeblack
Nescio

Set 2:
dA dA dA
Two Skaters
The Bauhaus Chair
Yellow Socks & Angst
Lits-Jumeaux
Three Sisters
Walter & Conny
Les Nuits
J.O.S. Days
Beromünster
Cars & Cars

Encore:
Ivory Boy
In the Dutch Mountains

Encore 2:
Adieu Sweet Bahnhof

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So this was the first time we’ve seen Nits play a live show. And the first time we’ve met up with Gavin and Chris. And now that we’ve done both after years of thinking about it…we know that it can be done and we vow that this time will not be the last. And with their concert schedule throughout the rest of the year there are opportunities for any European readers of this blog to feast their ears on the wonder of this band.

NIT5o | 2024 European Tour

JUNE 2024

30 Tilloloy | Retroctrop festival | France

SEPTEMBER 2024

16 Tampere | Tavara-asema | Finland

18 Helsinki | Savoy | Finland

OCTOBER 2024

10 Venlo | Maaspoort | Netherlands

12 Ulft | Dru industriepark | Netherlands

18 Rotterdam | Lantaren Venster | Netherlands

20 Heerlen | Parkstad Theater | Netherlands

24 Leeuwarden | De Harmonie | Netherlands

27 Haarlem | Patronaat | Netherlands

31 Den Bosch | Theater a.d. Parade | Netherlands

NOVEMBER 2024

8 Hoorn | Het Park | Netherlands

10 Heiloo | Cultuurkoepel | Netherlands

16 Berlin | Passionskirche Kreuzberg | Germany

24 Hamburg | Laeiszhalle. Kl Saal | Germany

26 Köln | Kulturkirche | Germany

29 Eindhoven | Muziekgebouw | Netherlands

DECEMBER 2024

7 Groningen | De Oosterpoort | Netherlands

10 Leiden | Leidse Schouwburg | Netherlands

14 Amstelveen | Schouwburg | Netherlands

19 Arnhem | Luxor Live | Netherlands

21 Utrecht | Tivoli Vredenburg | Netherlands

22 Den Haag | Het Paard | Netherlands

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