Photography by Brittne Lunniss
Khruangbin funked their way through Seattle last week in support of their 2024 album A La Sala. The globally-influenced trio (whose name translates to “airplane” in Thai), transformed WAMU into a wistfully intimate bungalow. Leaning into música popular brasileira, Thai funk, neo-psychedelia, and surf rock, Khruangbin traveled back to their genre-bending roots for their fourth album, A La Sala.
The band opted for a simple stage design, featuring platform stairs leading to three LED screen windows. The windows changed color and imagery throughout, setting a specific tone for each song—global and funky, jazzy and emotive. Accompanied by thoughtfully designed lighting and Rainforest Cafe-worthy soundscapes, Khruangbin communicated the story of a seaside fling. Bassist Laura Lee Ochoa and guitarist Mark Speer donned their traditional wigs, playfully interacting during the set. With longing glances and sassy hairflips, the two often became one as they crossed paths.
Compared to previous tours, A La Sala is considerably stripped down. Slower beats, minimal vocals, worldly psychedelia steady as Ochoa’s bass lines. The band’s new tunes feel relaxed, like kicking off your shoes at the end of a long day. In fact, Ochoa didn’t even wear shoes for the set. While the album can certainly serve as background music for a stoney summer day, A La Sala tells an intimate story if you engage with it thoughtfully. This contrast was particularly visible at WAMU, with herds of people standing toward the back of the venue loudly chattering and vibing—but completely missing the story being told in front of them. Khruangbin’s team accomplished one of the best set designs I’ve seen, and this wasn’t due to spectacle. The emotive experience created by such minimal yet breathtaking details offered a dreamy, interactive space.
Speaking of details, Khruangbin loves them. The story of A La Sala began from the moment attendees walked through the venue doors. A table of cream-colored brochures awaited concert-goers at the entrance. In cursive, the pamphlet read: “Please Take This Time To Introduce Yourself To Those Around You…” Lyrics to each song, as well as a black-and-white illustration of Seattle, were inside. I’m not certain if the encouragement to converse melted any frozen Seattleites, but the invitation was warming.
Like a mod mermaid cruising an oceanside boardwalk, Ochoa (bassist and fashion icon) wore oversized lavender-colored pants accompanied by a silk paisley slip. I didn’t notice the seashell clips attached to her wig until I started editing these photos—a playful detail leaning into the beach theme. Speer opted for brown linen pants and a simple white tunic establishing a relaxed yet timeless feel, an aesthetic relevant to the show. Drummer Donald Johnson, Jr. was tucked cozily behind his kit on top of the platform. Wearing sunglasses, a baseball hat, and black jersey labeled “Humanity,” Johnson played a passive yet powerful character, providing the rhythmic soundtrack for the album’s romantic tale.
Khruangbin’s A La Sala tour challenges us to reconsider the definition of a musical. Obvious lyrics, soaring vocals, and extensive choreography are no longer defining traits. In-your-face storytelling is not the Khruangbin vibe. Next time you give A La Sala a spin, close your eyes, listen closely, and consider the deliberate flow. The sand, the sea, and yes, the wigs.
