MAY 17th, 2022
BAUHAUS
Review by Cinday Rae
Photos by Jeffrey Donavan

Picture Galllery http://www.metaltitans.com/concertpics/bauhaus/

Opened in the late 1920’s as a vaudeville style theater that was known its lavish interior, the venue’s Baroque accents and lavish  interior serving as a Baroque cabaret hall for the old guard goth of English Goth Pioneers. 

Tuvan throat singer soRIAH,  real name, Enrique Ugalde is a well-known public figure in the Portland area. He drives for a cab company and fronts the Bowie tribute band Black Star rising. Opened the show with his unique brand of Gothic shaman throat singing, a style he has pioneered and won several awards for worldwide.  Living just up the road he described “The dream is in your backyard”. Creating a wide range animalistic groans and moans, he is truly something special. Having only two members, soRIAH creates a room fulling sound that is omniscient and yet tranquil in its delivery. The sounds of the percussive drumming vibrated through the Arlene Schnitzer, as if a war drum was being sounded for the end of days. “That one was for your courage during this dark time.”  iEnrique boomed as he seemed to float away into the wings of the stage. 

Bauhaus’s set began with Peter Murphy taking control of the night. 
The full band not even on stage, Peter was ready to give the people of Portland what they came to see. Walking on stage and proclaiming with a wave of his silver tipped cane, ”This is taking too long let’s go!” The house lights still on, the band quickly fell in line with kicking things into high gear with the lights taking 30 seconds to finally line up with the band.

Opening the set with the tongue in cheek  “Rose garden Funeral of Sores”, a clear nod to starting the tour in the city of roses. Bassist, David, joined the band and rounded out the ensemble. With the crowd now fully on their feet, red and white search lights whirled around the venue with stage lights gleaming off of the mirrored guitars. The band worked thorough a set that leaned heavy on the bands seminal album “In The Flat Field” treating fans to “Stigmata Martyr”. Peter’s voice echoed with a spooky yet familiar sound as he delivered a near flawless vocal performance during the bands’ hour set. The stage lights continued to throw long shadows of the band across the ornate walls of the Arlene Schnitzer hall, further engrossing those in attendance into the sort of goth cabaret only Bauhaus can put on. Keeping the crowd engaged during the instrumental parts of songs by creating suspense and whimsy, Bauhaus proved why they are the masters of suspense and slow lonely dirge. The set came to the half way point and the bass line of “Bela Lugosi’s Dead” shook the room as if Dracula himself was to come soaring down from the rafters. Peter threw a handful of red rose petals in ceremonial fashion, as every bit of light beamed off his sequined jacket. As the end of the set approached, Murphy treated the crowd to a trio of covers beginning with “Sister Midnight” by Iggy Pop. Closing out the night with “Telegram Sam” by T. Rex and “Ziggy Stardust” by David Bowie. The crowed erupted with excitement as guitarist, Daniel Ash, played the iconic guitar riff now synonyms with the star man. Murphy having quipped “Goodbye” as he fled the stage signaling end to the dark cabaret that is Bauhaus.