All that gentle noise

This past Friday, Yo La Tengo returned to Atlanta, their second time through town supporting their latest album, And Then Nothing Turned Itself Inside-Out. Last time around, they played to hipsters at the new Cotton Club. This time they performed for a somewhat older crowd at the Variety Playhouse. It wouldn't be a Variety Playhouse show without a taper, and, lo and behold, in the middle of the seats sat two mics high on a boom. Another guy in an Atlanta Braves hat stood for most of the show, two microphones clipped to his hat, like protruding horns. Following the devil analogy, he glared at anyone approaching, daring them to talk and ruin his recording.

The crowd was not only older in appearance but in manner, staying so silent and respectful that during one of the eerily silent breaks between songs, opening band Versus commented on how nice it was to actually hear themselves making music.

And Versus made some beautiful music and righteous noise, performing a 45-minute set drawn primarily from their soon-to-be-released album, Hurrah. Cleaner tones and the clear, pensive vocals of co-lead singers Richard Baluyut and Fontaine Toups wrapped themselves around these new tunes; occasionally though, guitarist James Baluyut and drummer Patrick Ramos would up the tempo, propelling Versus into the kind of sonic swells they made their name with while touring with bands like Superchunk, Unrest and Tsunami in the early to mid-'90s. They closed their set with "Frederick's of Hollywood," which, with its edgy, vintage Goo-era Sonic Youth sound, came off almost like an ode to their influences.

After such a forceful exit, Yo La Tengo must have felt a need to make a dramatic entrance. After only a few looping bars of their first song, guitarist Ira Kaplan was careening and craning for feedback with such gusto, his guitar strap gave out. Amidst his whirlwind of screeching noise and Townshend-ian windmills, drummer Georgia Hubley and bassist James McNew kept the pace steady -- even if Ira wasn't.

The rest of the evening alternated between the more sedate, contented material from the new album and the occasional upbeat pop of indie-rock hits like "Tom Courtenay" and "Sugarcube." A lot of the songs centered on the two keyboards placed front and center, with Hubley playing drums along to backing beats and the band switching instruments regularly. The famous Yo La Tengo wit was also in effect, the band occasionally interjecting funny, open-ended stories and performing synchronized dance moves.

Yo La Tengo's music can be beautiful and bombarding, but at times it can be downright lulling to those unprepared for the gorgeous drone. Some heads bobbed while others nodded serenely, as people circulated quietly, shuffling and holding on to each other to stay awake. After two encores, Yo La Tengo made their exit and the crowd dispersed as well, a little drowsy perhaps, but seemingly content with the quiet buzz left behind.