Nouvelle Vague, Lincoln Hall, Chicago

It is unquestionably a point of artists’ contention, but the ultimate truth of the matter is that the make-or-break point for any winning cover band is their ability to truly own the songs in their catalogue. It honestly doesn’t matter if it is a note-for-note studio replication or a YES-inspired cosmic departure. Once a band goes beyond simplistic setlist appropriation for the sake of crowd pleasing and actually infuses a believable sense of avidity into their art, then the songs can take on a life greater than their original conception. Nouvelle Vague is precisely this type of cover band. It is their unapologetic, and ultimately beautiful, take on the music they love that makes them so memorable.

How else would one explain a French band that are still selling out thousand seat American venues with Bossa Nova-infused covers of angsty songs written by men in the 1970’s and 1980’s? And don’t be so quick to shout out, ‘Hipsters!’ because the Lincoln Hall’s attendance was of all ages and various musical tastes Saturday night.

As the stage-taking notes of the band’s lounge-influenced take on The Police’s ‘So Lonely’ began to swell through the venue it was clear that Nouvelle Vague are masters of their chosen craft. Their perfectly polished Bossa Nova rhythm section and snapping guitar melodies created a potent atmosphere that called to mind ‘Rat Pack’ era coolness with a French bohemian twist. However, despite the compelling musicianship throughout the night, it was the thoroughly intoxicating performances from frontwomen Karina Zeviani and Helena Noguerra that made the show. Their stage presence was undeniable. Whether they were kicking their shoes off to get comfortable for a slower number, shouting from atop opposing amps to pump the crowd, or clumsily dancing with each other like teenage girls prepping for a party, the two always led the crowd comfortably by the collar.

The pacing of the night was, for the most part, well kept with a pleasant mix of upbeat quirky numbers like the Violent Femmes ‘Blister in the Sun’ and slow burning new wave reimaginings such as, XTC’s ‘For Nigel’. Zeviani shined brightest in the opening set with a playful, almost Bossa Nova Betty Boop, rendition of The Cramps ‘Human Fly’. While Noguerra hit her peak with a shout-back 1960’s psychedelic swing-club version of The Dead Kennedy’s ‘Too Drunk to Fuck’ that pushed the show past modified lounge material and into a full blown party.

However, it was the opening song of the first encore that stole the show. Zeviani wandered through the crowd desperately belting out Bauhaus’ ‘Bela Lugosi’s Dead’ before collapsing in the center of the venue only to be revived by the haunting chant of, “undead, undead, undead,” from Noguerra who laid motionless atop an amp for the entirety of the song. You could feel the collective shiver shoot through the room.

Nouvelle Vague is an exceptionally talented live act who creates a truly unique experience for their showgoers by offering the rare sensation of rehearing favorite songs for the first time. The proof of their success both as artists and as a cover band was made perfectly evident in the show’s exit murmur when conversations through the street were filled with attendees excitedly claiming, “That version is my absolute favorite,” and “Those were all way better than the originals.”