THE THE Showcase New Album ‘Ensoulment’ As North American Tour Continues

“It’s Friday night in Chicago. You can do better than that!” teased The The frontman Matt Johnson on stage last week during a rare stateside appearance at the Salt Shed in Chicago. “Today, you get two sets for the price of one. And we call set one ‘the listening set,’” he explained. “We are an analog band so listen with your ears and watch with your eyes.”

Since forming in London in 1979, new wave post-punks The The have delivered consistently, with Johnson continually pushing the music forward via collaboration, cinematic embrace and the exploration of new sounds as the group’s sole consistent member.

Returning from a 15 year hiatus in 2017, Johnson followed up a decade of soundtrack work last month with the release of Ensoulment, the first new The The album in almost 25 years.

On the “Ensouled” tour, which makes its way across North America into early November ahead of an Australian run, The The are performing two sets separated by a brief intermission, showcasing the new album in full before closing with a hits retrospective, performing for nearly two and a half hours.

“Truth stands on the gallows / Lies sit on the throne,” sang Johnson, utilizing a trio of microphones during album and show opener “Cognitive Dissident.” “The unthinkable is now thinkable,” he continued, setting a tone early.

Taking off his guitar, Johnson began to explore the space, stalking the stage slowly but methodically while further addressing the world via “Kissing the Ring of POTUS.” “So, is this how the Empire dies?” asked Johnson during the performance. “Its constitution withered on the vine / Propped up by the dollar and the drone / Slumped upon a degenerating throne,” he sang as bass player James Eller made his way back to the drumkit while guitarist Barrie Cadogan ripped an early solo.

Keyboard player DC Collard was a secret weapon early, conjuring up the sound of a xylophone during “Some Days I Drink my Coffee by the Grave of William Blake” and organ during “Life After Life.”

“So, Chicago has always had a reputation as being one of the naughtier cities,” said Johnson coyly on stage Friday night. “Truancy and a f–ed up education system in England… probably not much better over here is it?” he continued, setting up the look back at school days gone by that drives the narrative throughout “Down by the Frozen River,” with sparkling keys and a low, rumbling lead vocal turning the 3,600 capacity venue into more of a smoky nightclub circa 1 AM.

“Risin’ Above the Need” hit on greed while Johnson moved back to electric guitar for “Linoleum Smooth to the Stockinged Foot,” working alongside Cadogan to create a dreamy, ethereal tone on the cut.

Closing the first set, drummer Earl Harvin clapped along with the crowd as he struck his pedals during ‘‘A Rainy Day in May,’’ with Ensoulment’s closing track standing as an early highlight as The The headed to intermission in Chicago.

“We’re up to 1986!” declared Johnson near the top of a hits set which began with “Infected,” setting up “Heartland.” “My relationship with Chicago began around the age of 3 or 4. We had a painting of the Chicago skyline from 1962. I still have that painting,” he said. “I had a lovely walk around last night taking in the beautiful architecture,” he continued, stressing the importance of saving historic buildings.

Collard picked up a harmonica as the look back examined breakups, continuing with “August & September” – though “Slow Emotion Replay,” which featured Smiths guitarist Johnny Marr on the original 1993 studio track, required a few extra voices.

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