Bon Iver: A Fully Realized Act

by James Ammirato

I never thought I would see Bon Iver in an arena, and I don’t think Justin Vernon ever thought he would play one. Since he started Bon Iver as a solo project back in 2006, the act has gone through several changes, both in lineup and sound. The band’s most recent album, i,i, released in August of 2019, is something of a culmination of all their previous efforts in one record. As a result, their audience has grown larger than it’s ever been, allowing the band to play in larger spaces across the country. 

Walking into the stadium from the green line, this was immediately apparent. Granted, I wasn’t exactly sure what Bon Iver’s audience was, but I wasn’t expecting a largely middle-aged crowd, and I certainly hoped there wouldn’t be as many white guys with dreads. But I digress. Feist opened up the show with a solid set of country rock, hamming it up and making jokes that she couldn’t see anyone in the entire arena. About 45 minutes later, she left the stage, and we were left to watch a mysterious video of Justin Vernon shooting three-point shots for another 45 minutes (he made about 78% of the 300 shots, according to a counter at the bottom of the screen). I wasn’t quite sure what this had to do with the band, if anything, but something about seemed very Kanye-esque to me, and I wondered if the friendship between the two had anything to do with its mystique. 

At exactly 9PM, Bon Iver took the stage. I had only ever seen Vernon as a solo act, but this time he was complete with a full band of 6 or 7 people, Vernon included. The opening track “Yi” from i,i played over the speakers and the band went right into “iMi,” sounding as full as ever, but I couldn’t help but feel that it was a little out of place. Justin Vernon has always been something of a mysterious figure, the guy who went into the woods and emerged with a fragile, angelic record over a decade ago. Yet here he was, performing in TD Garden, where the Celtics play every night. 

Of course, I was still able to enjoy the experience. The band played the entirety of their latest record as well as some cuts from 22, a Million (“666 ʇ” and “33 “GOD””) Bon Iver (“Perth,” “Towers,” and “Holocene”), and even the title track from the Blood Bank EP. The light show was incredible, complete with about 30 fixtures that would move around and make different line configurations, and each member was encased in a “V” of light that appeared to change color according to the music they were producing. Vernon was equipped with an arsenal of guitars, some of which I never imagined he would pick up simply due to how high-end they were, including a Les Paul Goldtop and an ESP, the latter of which I had only ever seen at metal shows. Some highlights included “Perth,” a song with a drum part that can only be appreciated in a setting such as this, or perhaps alone in an icy wilderness. “715 - CR∑∑KS,” featured Vernon’s use of the Messina, a technique invented by his engineer and close friend, Chris Messina, which allows Vernon to harmonize with himself in real time by combining computer software and a keyboard that Vernon plays on stage. 

I walked away from the show quite impressed. Bon Iver is a unique band, and here they were clearly making the most out of their singularity in such a high caliber venue. But when a band has made such a radical evolution, from one man with a guitar in a log cabin to a full band on stage in one of the country’s most famous arenas, one wonders, what comes next? There was speculation before i,i was released that it would be the last Bon Iver record, due to each album’s supposed representation as one of the four seasons. Now, after seeing firsthand what appears to be the band’s final form, I’m forced to believe this may be true, now more than ever. 

My reasoning for this thought is that Justin Vernon has been afforded the opportunity to evolve with every record, and he’s taken full advantage of this fact. He went from a solo act to a full band, then essentially back to solo with the incorporation of unorthodox electronic instrumentation, and now a combination of everything. Unless he goes full circle and releases another For Emma, Forever Ago, there’s not much else that can be changed about the band’s sound, which would stagnate their creative process in my opinion. 

Whatever the case may be, I’m not worried. People have been skeptical of the band with each adoption of a new technique or lineup, and they’ve always come out on top, most notably with 22, a Million. If Justin Vernon wants to make a solo hip hop record or enlist the help of a New Orleans jazz band to help supplement his next effort, I have full confidence that he’ll make it sound good. Difficult as it may be, all we have to do as fans is wait.