Artist of the Week

By John Mikeska • Photos by John Shore

In the eclectic universe of Gogol Bordello any music-genre is fair game. That being said, there’s an obvious affinity for punk-rock, gypsy, Balkan and Eastern-European influences. At the helm of this renegade outfit Eugene Hutz is an intelligent personality who is knowledgeable, opinionated and well-read in a wide array of subjects. His ability to effectively utilize what appears to be a grab-bag of verses from the likes of Nietzsche and Kant, seems to be at odds with his persona but makes perfect sense when you consider the depth of his musical/lyrical catalogue and life experience.

It’s been said that the truth needs no explanation. This saying definitely rings true when trying to make sense of the walking paradox that is Eugene Hutz. If nothing else, the man is entirely himself. Hutz is an indelible character that has lived a life of his own creation and survived the tribulations of success. Born from design, bred by creativity, and cultivated by expression; he takes his vision to the people with an uncompromising commitment to passionate performance. Hutz came to the United States as a refugee and fought desperately for the self-actualization he so craved. He developed a persona that reads like an amalgamation of Iggy Pop, Bob Dylan, and various heroes of classic Russian literature like Tolstoy, Dostoyevsky and Chekhov. Bringing his act to the stage in a sort of iconic characterization of his genuine self, the band (at times) serves as a backdrop to a one man show; but neither could exist without the other. The operational paradigm lends itself to a balance in what appears to be a sustainable relationship for GB.

Eugene is a showman in every sense of the word. Personally, I witnessed the panache and style with which he handled a situation at Higher Ground.On account of technical difficulties the show was slightly delayed. Instead, the audience was treated to a solo acoustic serenade from Eugene that was something like an impromptu performance from a court jester, troubadour, the village-drunk, and a warrior poet. Managing to coax laughter, cheers and amusement from the audience, he rolled his adoring patrons around like putty in his hand as the crack equipment crew worked their magic.. Once united under the lights, the belligerent-Balkan and his supporting cast of rowdy-Romani exploded into a thunderous boom of drunken gypsy-rage. The crowd became a community united by the primal celebrations coaxed out from the depths of the spirit by the musical expressions of the band. Arm-in-arm with every fortunate soul under the roof of Higher Ground, we literally (figuratively? I don’t even know anymore) danced in a circle around a bonfire, drinking wine and howling at the moon.

The musical development of the on-stage-performance is fluid yet spontaneous. You get the feeling that the songs are more-or-less a framework to facilitate this particular form of spontaneous energy. At the highest point of expression, inspirational vibrations emanate from creative forces that neither the band nor audience could hope to control. As a collective unit, Gogol Bordello is set apart by connecting with the audience on an intensely personal level. According to violinist, Sergey Ryabtsev, at various points in the show, any member of the band is capable of stepping up and influencing the improvisational flow. The loosely defined parameters of their performances are bound by their song structures and little else. As if to set out on a cross-country road-trip and say “head that way until you see the ocean”; the band knows where they want to go, but the manner in which they get there is unfettered, unadulterated and adventurous.

They take the show on the road and approach the performance as if nothing is more sacred than the journey itself (a swashbuckling disposition that appeals to the buccaneer spirit in all of us). A popular example, “Wanderlust King”, is a song which unabashedly expresses the ethos of Gogol Bordello and the philosophical inspirations that sustain its existence.There is an undeniable integrity to the vocal arrangements and musical structures of their songs that can only be the product of diligent practice. Seemingly at odds with Hutz’s declaration that “work is absolutely unnecessary for human existence” his dedication to quality is more a matter of perspective than anything else. To the anti-hero who thrives within his own paradox, what he does on stage isn’t “work” per se. The work, according to Hutz, involves the travel and logistics of the touring process.

Although punk-rock undoubtedly plays a seminal role in the GB songbook, perhaps more interesting is the manner in which the many other genres are woven in-and-out of the inextricable tapestry that time and inspiration have come to knit. Gogol Bordello is a reminder of the renegade, wayfaring spirit that exists in all who embark on life’s journey in a musical context. A refreshing celebration of music, life, and individualism of the highest order; Gogol Bordello has solidified its place in the live music scene. All they need is a stage and someone to connect with in order to provide an earth-shattering reminder of this awe-inspiring truth.