Last fall, during a Studio Brussels interview Kevin Parker, creator of Tame Impala, was asked by the Belgian interviewer about what fans could expect from the upcoming Deadbeat tour. Parker answered “The only thing I really care about live is that it’s the ultimate Tame Impala experience.”
TD Garden, Boston follows the format for this tour with a raised circular center stage where floor fans can get close and envelope the performance. The sides of the turntable-like stage are covered in an array of wires and cables while Inside lights mysteriously flicker giving the impression of a low tech control hub, or space ship.
Kevin Parker creates all of his own studio instrumentation for albums, but requires an actual band for live shows of this nature. Arriving on stage, the tour band consisting of Dominic Simper, Jay Watson, Julien Barbagallo, Cam Avery, James Ireland quickly settled. With massive cheers, on comes Parker with a nonchalant lope, fixing his hair, and readying his guitar.
Opening with “Apocalypse Dreams” from his second album (Lonerism, 2012), the early lighting and haze effects veiled Tame Impala, and the direct vertical shafts of lighting also leaned into the space ship theme theatrically, as did the rapid stroboscopic effects. Parker’s grunge-like appearance with scruffy hair and familiar plaid shirt, part of the Deadbeat vibe underscores the lack of pretension of Tame Impala. This contrasts to the hi tech staging visuals. There were times during this song when Parker almost vanished on stage, leaving only the unfurling of moving vapor.
Also from, Lonerism, the critically acclaimed single “Elephant” harkens back to his earlier psychedelic rock roots with its influences from the likes of early Pink Floyd and other 70s Euro prog rock scene. With Parker’s personalized lyrics, distinctive falsetto voice, and a multti-insturmntalist talent, Tame Impala fans seem to have followed Parker on his musical odyssey on his fifth album Deadbeat.
A crowd highlight was “Loser” when the main character of Tame Impala’s eponymous video, musician, actor, and opening act for the Deadbeat Tour, DJO (Joe Greely from Stranger Things) and his band came on stage. In keeping with the character’s video portrayal, Djo lights up a ciggy and swigs from a red solo cup. Performing “Loser “ together first as vocals, then adding a little bit of the showy rock n’ roll style jam as the four guitarists chimed in was fun, but musically they could have leaned into this more for a live show. From the cheers the audience was thrilled regardless.
Midway through the set, Parker leaves the stage and is followed by a video cameraman as he goes backstage through hallways into a bathroom, and a urinal, where the camera eventually rests, focused on the ground, as we are witness to a live pee from the artist. Washing of hands and more fixing of hair in the mirror, and a nod to the camera, we follow him back.This was not unique to the Boston event tonight, but a part of his show routine, part reality TV, or intermission, either way it disrupts the expected and adds some humorous play on the Deadbeat concept.
Changing stage dynamics again, Parker moves to his smaller side stage, even closer to floor fans. Cornered by warm home decor style lamps and sitting cross-legged on the rug surrounded by various digital synthesizers, Parker has taken us to a more intimate setting. With cameras above, the audience sees him perform more cinematically on the LED video walls that descend on the main stage perimeter. The effect brings the audience closer to his processes and techniques of creating live music at his home studio. In this setting the forward driving “Ethereal Connection” and “Not My World”, both from the Deadbeat album, allow us to appreciate and meditate more on the solo aspect to his work.
The endorphin boosting hit, “Let it Happen” from Currents (2015), a clear move into house grooves with Giorgio Moroder inspired crescending synths that layer over bass and drums to create something approaching an anthem. This is yet another high point tonight with the crowd as salvos of lasers aim piercing color across the crowds, spotlights gyrate, and sparkling confetti twitches in the air. Everybody is moving on the floor and seats. The effects conjure a 3D atmosphere, well beyond the center stage effectively filling the Garden with a euphoric haze, like an Impressionist painting.
Sitting on the edge of stage into the encore, Parker hangs with the crowd and declares, “Boston, I’ve been so fuckin’ electrified by you all..” “My Old Ways” (2025), a trippy dance track with middle eastern keyboard accents follows his personalized confessory approach to theme in his stage presentation and songwriting on the Deadbeat album.
I know I, I said never again
Temptation, feels like it never ends
I’m sliding powerless, as I descend
For the Deadbeat finale, “End of Summer” permeates the arena with an inescapable deep bass that fills the chest and pulses throughout the arena. The song builds as you imagine yourself in some hardcore techno club. More confetti and lasers to dazzle the retina as Parker leaves the stage raising his hands in appreciation. The band follows yet the beat continues like a party that doesn’t want to end. This might just be the Tame Impala experience.
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