Kim Gordon plays ‘Play Me’ to appreciative Summerfest crowd

Kim Gordon is 73, and her 45-year reign as the queen of the alternative noise-rock kingdom remains unchallenged, as displayed Thursday night at Summerfest‘s Briggs & Stratton Big Backyard. While she did not wear a diamond encrusted crown, her sparkly sequined outfit was more than sufficient as she held court for her resolute subjects in attendance on a glorious early summer night on the lake. While Gordon only played to a half-full venue, those in attendance were clearly absorbed with her subdued 70-minute, 17-song showcase.

The singer and songwriter is best known for her work as the bassist, guitarist, and vocalist of seminal alternative rock band Sonic Youth. Along with Gordon’s now ex-husband Thurston Moore, the band forged a path from the early ’80s No Wave scene to an innovative guitar-driven trash-punk band, producing 15 memorable LPs before disbanding in 2011. Sonic Youth left a legacy of avant-garde dissonance inspiring the likes of Nirvana, Radiohead, Pavement, and Dinosaur, Jr. Not surprisingly, however, there would be no Sonic Youth on display Thursday evening.

Since Sonic Youth, Gordon has been involved in a number of side projects, but most significantly she has released three solo albums, the most recent being Play Me. Since its release in March, Play Me has been well received by critics, with Pitchfork opining: “On every level, Play Me is the most populist and literalist music Gordon has ever made. There are fewer jagged ruptures than on her previous solo records, more clearly demarcated beats, hooks that resemble hooks. The loops recur and aren’t so violently flayed open. They chug forward with modulating basslines and a steady krautrock insistence.”

Gordon, along with her extremely young-looking three-piece backing band (I would have carded them all at an R-rated movie), performed all 12 tracks of Play Me start to finish; those beats, hooks that resemble hooks, and modulating basslines were on full display. Perhaps a bit too much. The set kicked off with the opening title track, which had a jazz-influenced tone. It was followed by “Black Out,” “Busy Bee,” and “Subcon,” all with similar dissonant trap beats and impenetrable bass. Apart from the songs from the new LP, Gordon played a handful of songs from her other solo records, which demonstrated the broader range of her catalogue and allowed the band to bloom.

For much of the set Gordon remained perched behind a lectern, lyrics at the ready, while not being particularly engaging with the audience. But when she did roam the stage, pick up her guitar, or dance a little dance, the very appreciative crowd was once again reminded of her well-earned legacy and why she still wears the crown.