Múm is the latest in what seems to be a global trend of acts that believe the bigger the band, and the more unusual the instrumentation, the better. Though only two original members of the group remain, Gunnar Örn Tynes and Örvar óreyjarson Smárason, there were seven musicians on stage during last night's concert at the historic 6th and I Synagogue. The ensemble employed the following instruments over the course of the show: guitar, bass, drums, piano, keyboard, autoharp, cello, violin, harmonica, kazoo, clarinet, recorder, trumpet, and a toy-like gadget played by blowing through a rubber tube attached to a plastic keyboard.

Along with groups such as Arcade Fire, Gogol Bordello, Polyphonic Spree, and even our own Le Loup, Múm does not rely on harmonic or rhythmic complexity in the way jazz or progressive groups might. All of these bands write and perform in a straightforward way that connects with an audience. Last night, as Múm delivered their catchy minimalist synth pop, they seemed almost surprised when the audience cheered after every song. Their awkward dancing and apparent nervousness on stage proved endearing, and so unlike the aforementioned bands who connect through sheer energy, Múm resonated with the crowd largely because they were so damn cute.

The show's openers were the avante-garde pianist Hauschka, and the North Dakotan folkster, Tom Brosseau. Playing a prepared piano, Hauschka's set was thirty minutes of minimalism that recalled some works by John Cage, but more resembled the rhythmic and repetitive work of Philip Glass. Given his considerable vocal talents, it is easy to draw comparisons between Brousseau and Jeff Buckley, but his guitar technique has a more simplistic quality like that of Bob Dylan. While both Hauschka and Brousseau are skilled artists who were well received by a good portion of the audience, the remainder was visibly bored during parts of their sets. Perhaps the reception would have been better if there had been only one opening act because the two sets back-to-back got the concert off to an extremely slow start.

The night's slow pace continued as Múm chose to open with "Moon Pulls" and "A Little Bit, Sometimes," two subdued tracks off their latest release, Go Go Smear the Poison Ivy, which was heavily featured. Then, like a breath of fresh air, the audience finally heard the night's first drum beat with "Guilty Rocks" and all was right with the world. The remainder of the set took off from there with the band performing the delightful "Blessed Brambles," the sing-song "Marmalade Fires," and closing the main set with the curiously titled "They Made Frogs Smoke 'Til They Exploded," featuring, of course, the kazoos. As we didn't have enough reason to smile, Múm stayed true to its sweet and innocent persona by finishing its encore with a song dedicated to a bandmember's girlfriend who was celebrating her 23rd birthday.

Image courtesy of Múm