First of 4 gigs in 5 days (mad!), this was a rescheduled one from March, when we'd gotten all the way there before finding out they'd postponed due to illness. D'oh! This time however the trip was not in vain - we parked up at 10 to 8 and got into the already full venue for this sell-out show, grabbing a good viewing spot on the viewing platform stage left.
Support Fortune Drive were on at 8 - a local 5-piece playing a brand of urgent, insistent and itchy rock, with a tiny black vocalist occasionally sounding Motown soul-ish in his vocal inflections. Difficult to pigeonhole, their mainly fast-paced upbeat pop-rock impressed occasionally, despite some flights of indulgence and a seemingly superfluous keyboardist. Nevertheless, one to watch?
Jimmy Eat World came onstage at 10 past 9 - or rather, tousled vocalist Jim Adkins popped on solo to a minimal backing track, regaling us with a couple of lines from their "Futures" CD title track, before a slow-burn opener which gradually involved the rest of the band, layering sound on carefully.
Then straight into the rock - an utterly incendiary "Bleed American", and thereafter a raw, rampant set of powerful, emotive top-drawer guitar rock, played with those good old fashioned virtues like passion and conviction. Easily surpassing any past JEW set, tonight they were "on it", their recent "Futures" CD giving them the extra drive and focus their sets have occasionally lacked (for me, at least). "Work" followed an early "Lucky Denver Mint" and a sing-along "The Middle", after which Jim, one of the nicest guys in rock, apologised profusely for the original cancellation (which most wouldn't bother doing, let's face it), but then remarked, "hey, we're having a party tonight, right?"
Sure we were! The full-length "Futures" featured an extraordinary vocal performance from Adkins, his face contorted with passion. He means it, maaan! However, this was even eclipsed by set closer "A Praise Chorus", hooky, strident and just bloody brilliant. Encores including a breathless "Pain" and "Sweetness", their most Buffalo Tom-like number, concluded a great set which actually recalled the Tom in terms of emotional projection. Leaving the venue, I was hard pushed to remember a better set so far this year. Tonight, Jimmy Eat World really stepped up a gear!
Wednesday, 6 January 2010
664 AMBULANCE LTD., The Cinematics, Bristol Louisiana, Friday 17 June 2005
Another trip to Bristol, braving the roadworks for the second time in 3 days; this time it's off to the Louisiana via the river (not literally!) and a cobbled street square - don't remember it being this difficult to get there! Also, had to use dodgy-looking off road parking (luckily OK) as the street was busy for this sold-out show, by our arrival at 8.45.
Straight upstairs to this recently renovated venue - they've smartened up the bar, taken out the gents loos and widened and soundproofed the stage, which seems to have actually reduced its capacity even further than the 120 it used to be. No wonder this sold out!
Support band the Cinematics were on promptly at 9 and peddled an innocuously zeitgeisty nu-Britpop noise, all Franz poses and staccato guitar slashes. Not bad, but in all waves there are leaders and there are followers. No prizes for guessing which this lot were...
We kept our place right at the front by default as this tiny venue filled up! NYC's Ambulance Ltd. - my favourite new music makers of this year - were on at 10. Having missed them twice before (Boston 03 when they pulled out, Suede in December 03 when we arrived too late), but having been mightily impressed by their record, a blend of hypnotic, absorbing slow-burn mood music and Stills-esque rockier 80's influenced stuff, I was up for this one.
They approached this set very methodically, playing the album pretty much in order! This meant that after the hypnotic instrumental opener, we were treated to new single "Primitive" second number in, and their best number, the "Winona"-esque absorbing drone of "Heavy Lifting" in short order thereafter. A delightful if short set of absorbing guitar noise which was capped by a couple of encores played before the band left the stage (too hot and too crowded to go off then return, said the pretty boy vocalist), this more than made up for missing them before - a mistake I don't intend to repeat!
Straight upstairs to this recently renovated venue - they've smartened up the bar, taken out the gents loos and widened and soundproofed the stage, which seems to have actually reduced its capacity even further than the 120 it used to be. No wonder this sold out!
Support band the Cinematics were on promptly at 9 and peddled an innocuously zeitgeisty nu-Britpop noise, all Franz poses and staccato guitar slashes. Not bad, but in all waves there are leaders and there are followers. No prizes for guessing which this lot were...
We kept our place right at the front by default as this tiny venue filled up! NYC's Ambulance Ltd. - my favourite new music makers of this year - were on at 10. Having missed them twice before (Boston 03 when they pulled out, Suede in December 03 when we arrived too late), but having been mightily impressed by their record, a blend of hypnotic, absorbing slow-burn mood music and Stills-esque rockier 80's influenced stuff, I was up for this one.
They approached this set very methodically, playing the album pretty much in order! This meant that after the hypnotic instrumental opener, we were treated to new single "Primitive" second number in, and their best number, the "Winona"-esque absorbing drone of "Heavy Lifting" in short order thereafter. A delightful if short set of absorbing guitar noise which was capped by a couple of encores played before the band left the stage (too hot and too crowded to go off then return, said the pretty boy vocalist), this more than made up for missing them before - a mistake I don't intend to repeat!
665 U2, Athlete, Doves, London Twickenham Rugby Stadium, Saturday 18 June 2005
An honest-to-goodness Stadium gig - one of 3 this year (and of 2 in 2 days!), and no better way to start than with the ultimate stadium band - U2, whom I'd seen on my first stadium show almost exactly 20 years ago! A roaringly sunny day saw us heading off to London at 11, parking up at our friends' place and enjoying a splendid BBQ lunch in good company and fine weather! Headed from thence over to Twickenham via overground and underground train - my first time at this cavernous and impressive stadium bowl, a shame the access was so slow as it took over 1/2 hour to queue up for armbands even before getting in!
So we finally arrived pitchside at 6, as the Doves were onstage peddling a pleasant but innocuous Britpop chunter. I quite liked their set closer "There Goes the Fear", which recalled "A Whiter Shade Of Pale"(!) but that was about it! We kept our place about 1/3 back from the stage-left speaker stack (no chance of getting into the 5,000 capacity "Inner Circle" encompassing the stage front and the elliptical runway - those armbands had gone by 11 a.m.!) for main support Athlete who were shockingly poor. No doubt aiming for the Coldplay slow-burn mood market, they were even way wide of that mark. Dull, desperate and dire!
U2 have however performed a remarkable reinvention recently, returning to their root values of passionate, emotive soaring pop, after their ill-fated (in my view, anyway) 90's triad of "irony" albums. With a strong single "Vertigo", and a refreshingly consistent new CD, "How To Dismantle An Atomic Bomb", their return to form only needed rubber-stamping with an exemplary live performance, one whicch they should be well capable of. So expectations were sky-high as the refrain of the Arcade Fire's wonderful "Wake Up" heralded their entrance at 8.20. Straight into "Vertigo", then first album oldies "I Will Follow" and "Electric Co." in quick succession. I should have been going utterly potty at this point, but something seemed missing...
The first half was definitely U2 on cruise control, the band not as passionate and committed as they should have been, running through oldies like "New Year's Day" by rote, and only politely accepted by this crowd of gig tourists, definitely not the rabid U2 crowd of yesteryear. "Beautiful Day" however picked up the mood, and as dusk started to fall, the light show kicked in, and "City Of Blinding Lights", the moving intricate guitarplay of the Edge to the fore, finally sent the set soaring.
A surprisingly stunning "Miracle Drug" followed, before "Sometimes You Can't Make It On Your Own", a stately ballad about Bono's father, brought Rachel to tears as the lightshow backdrop played an image of a father walking along. This then was the making of this set - thereafter U2 poured their emotion more fully into their performance, seeming more committed on the new numbers, with Edge riffing away for all he was worth on "Love And Peace" and the dark, imposing "Bullet The Blue Sky". Then Bono provided a touching calm-after-the-storm vocal on the haunting "Running To Stand Still", my highlight of the night, augmented by the Bill Of Human Rights being projected onto the backdrop.
Then a stunning "Where The Streets Have No Name", Edge's virtuoso intro complementing an energetic vocal from the headbanded Bono, finally feeling it. "One", featuring Bono's political plea to support Live 8 and "Make Poverty History" (preaching to the converted, as ever, a little unnecessarily) capped an inconsistent, infuriating but finally worthwhile set.
Then of course the boys had to have their fun - encores of "Zoo Station", "The Fly" and "Mysterious Ways" saw us return to the overblown stage theatrics of the Zoo TV tour, which I confess didn't do it for me either then or now. It should be about the music, boys! A strict 10.30 curfew precluded another break, so a fine "Yahweh" and another run-through of "Vertigo" (Why? Why not "40"?) ended 2 hours and 10 minutes that entertained despite the disappointing opening. Ran into my brother on the walk back to the tube - he's sleeping in his car and doing it all again tomorrow! We, on the other hand, are off to see Green Day!
So we finally arrived pitchside at 6, as the Doves were onstage peddling a pleasant but innocuous Britpop chunter. I quite liked their set closer "There Goes the Fear", which recalled "A Whiter Shade Of Pale"(!) but that was about it! We kept our place about 1/3 back from the stage-left speaker stack (no chance of getting into the 5,000 capacity "Inner Circle" encompassing the stage front and the elliptical runway - those armbands had gone by 11 a.m.!) for main support Athlete who were shockingly poor. No doubt aiming for the Coldplay slow-burn mood market, they were even way wide of that mark. Dull, desperate and dire!
U2 have however performed a remarkable reinvention recently, returning to their root values of passionate, emotive soaring pop, after their ill-fated (in my view, anyway) 90's triad of "irony" albums. With a strong single "Vertigo", and a refreshingly consistent new CD, "How To Dismantle An Atomic Bomb", their return to form only needed rubber-stamping with an exemplary live performance, one whicch they should be well capable of. So expectations were sky-high as the refrain of the Arcade Fire's wonderful "Wake Up" heralded their entrance at 8.20. Straight into "Vertigo", then first album oldies "I Will Follow" and "Electric Co." in quick succession. I should have been going utterly potty at this point, but something seemed missing...
The first half was definitely U2 on cruise control, the band not as passionate and committed as they should have been, running through oldies like "New Year's Day" by rote, and only politely accepted by this crowd of gig tourists, definitely not the rabid U2 crowd of yesteryear. "Beautiful Day" however picked up the mood, and as dusk started to fall, the light show kicked in, and "City Of Blinding Lights", the moving intricate guitarplay of the Edge to the fore, finally sent the set soaring.
A surprisingly stunning "Miracle Drug" followed, before "Sometimes You Can't Make It On Your Own", a stately ballad about Bono's father, brought Rachel to tears as the lightshow backdrop played an image of a father walking along. This then was the making of this set - thereafter U2 poured their emotion more fully into their performance, seeming more committed on the new numbers, with Edge riffing away for all he was worth on "Love And Peace" and the dark, imposing "Bullet The Blue Sky". Then Bono provided a touching calm-after-the-storm vocal on the haunting "Running To Stand Still", my highlight of the night, augmented by the Bill Of Human Rights being projected onto the backdrop.
Then a stunning "Where The Streets Have No Name", Edge's virtuoso intro complementing an energetic vocal from the headbanded Bono, finally feeling it. "One", featuring Bono's political plea to support Live 8 and "Make Poverty History" (preaching to the converted, as ever, a little unnecessarily) capped an inconsistent, infuriating but finally worthwhile set.
Then of course the boys had to have their fun - encores of "Zoo Station", "The Fly" and "Mysterious Ways" saw us return to the overblown stage theatrics of the Zoo TV tour, which I confess didn't do it for me either then or now. It should be about the music, boys! A strict 10.30 curfew precluded another break, so a fine "Yahweh" and another run-through of "Vertigo" (Why? Why not "40"?) ended 2 hours and 10 minutes that entertained despite the disappointing opening. Ran into my brother on the walk back to the tube - he's sleeping in his car and doing it all again tomorrow! We, on the other hand, are off to see Green Day!
666 GREEN DAY, JIMMY EAT WORLD, Taking Back Sunday, Hard Fi, Milton Keynes Bowl, Sunday 19 June 2005
How appropriate that after 25 years of gigs following the Devil's music, No. 666 should be Green Day, the feisty bastions of punk recently "reborn" with their excellent "American Idiot" CD.
So, despite U2 at Twickenham yesterday, we were off again in scorching heat at midday, this time driving the whole distance and parking up in the Bowl car park "A" opposite the venue. So, into the huge grassed amphitheatre-type arena for 2.30, meeting up with friends at the top of the bank stage left, whiling away the afternoon chilling and catching some rays!
First band on, Hard Fi, finally joined us at 5 to a disproportionate welcome from the amazingly young crowd (whole families were here - this was a punk rock family day out!). Late replacements for Orange County identikit punks Simple Plan, Hard Fi peddled an innocuous Britpoppy noise out of kilter with the vibe of the day. Odd, but they still went down well. Taking Back Sunday, next up, also rocked the kids but their blend of shouty emo and spiky but samey punk failed to move me. No tunes to rub together!
However this accusation could never be levelled at Jimmy Eat World. We went onto the arena floor for their set - again, as per their Bristol set last week, Jim Adkins took the stage at 7.35 with the opening couplet of "Futures", but this time the band were straight on afterwards and straight into "Pain", then the awesome "Bleed American". The sound was a bit iffy for their set but this was only a minor detraction from another set of powerful, punchy and tuneful emo-punk pop-rock. JEW have raised their game considerably on this tour and now have consistency to add to their stunning tunes, "A Praise Chorus" was again a highlight, as was the Buffalo Tom-esque closer "Sweetness", before which Jim rallied the crowd by saying, "you guys really have no idea how badly Green Day are going to hand you your ass tonight!"
Meandered back a little to get a better view of Green Day via the big screens at the back and sides of the stage, as, pre-empted by the "Blitzkrieg Bop" drunken bunny and the "Nature Boy"/ moon landing theme again, Green Day took the stage. They were straight on it again, ripping into another vitriolic "American Idiot", Billie Joe Armstrong exhorting the crowd to sing, "so loud, every fucking redneck in America hears it!" They'd certainly have heard the climactic fireworks eruption at the end of this number - a great advantage to the outdoor venue!
A brilliant, sinewy "Jesus Of Suburbia" followed, sweeping through its 4 parts with gusto, the audience hanging onto Billie Joe's every movement. I know U2's Bono (whom we'd seen yesterday) has the reputation of being the ultimate audience mass communicator, but tonight Billie Joe held this audience in the palm of his hand, knocking Bono's performance yesterday into a cocked hat. All 65,000 of us were Billie Joe's bitches tonight!
The set followed the same pattern as their recent Cardiff gig - statement of intent powerfully made, then the cartoon punk rock fun and frolics. The "let's form a band" segment was particularly memorable, as Billie Joe dragged a 14 year old kid in identikit "mini-me" clobber up to play the guitar riff, before being given said guitar at the end! Their version of "Shout" was the only really unnecessary moment in an otherwise totally fat-free, brilliantly planned and expertly delivered set. Rat Scabies lookalike drummer Tre Cool, strong-arm bassist Mike Dirnt in his low-slung Johnny Ramone pose, and hyperactive centre of attention Billie Joe made for a stunning visual spectacle in themselves, never mind the frequent pyrotechnics!
After a near 2 hour set which simply ripped by, a strident, awe-inspiring "Homecoming" and a solo "Good Riddance", followed by the inevitable fireworks display into the inky sky, completed a quite remarkable resurrection for Green Day. On the strength of the last 2 nights' shows, the mantle of "Ultimate Stadium Band" may just have changed hands!
Note for future Bowl gigs though - parking in the car park was the right thing as they cordoned off the local streets afterwards, but getting along the A-roads back home was slow - not home till 2.15 a.m. D'oh!
So, despite U2 at Twickenham yesterday, we were off again in scorching heat at midday, this time driving the whole distance and parking up in the Bowl car park "A" opposite the venue. So, into the huge grassed amphitheatre-type arena for 2.30, meeting up with friends at the top of the bank stage left, whiling away the afternoon chilling and catching some rays!
First band on, Hard Fi, finally joined us at 5 to a disproportionate welcome from the amazingly young crowd (whole families were here - this was a punk rock family day out!). Late replacements for Orange County identikit punks Simple Plan, Hard Fi peddled an innocuous Britpoppy noise out of kilter with the vibe of the day. Odd, but they still went down well. Taking Back Sunday, next up, also rocked the kids but their blend of shouty emo and spiky but samey punk failed to move me. No tunes to rub together!
However this accusation could never be levelled at Jimmy Eat World. We went onto the arena floor for their set - again, as per their Bristol set last week, Jim Adkins took the stage at 7.35 with the opening couplet of "Futures", but this time the band were straight on afterwards and straight into "Pain", then the awesome "Bleed American". The sound was a bit iffy for their set but this was only a minor detraction from another set of powerful, punchy and tuneful emo-punk pop-rock. JEW have raised their game considerably on this tour and now have consistency to add to their stunning tunes, "A Praise Chorus" was again a highlight, as was the Buffalo Tom-esque closer "Sweetness", before which Jim rallied the crowd by saying, "you guys really have no idea how badly Green Day are going to hand you your ass tonight!"
Meandered back a little to get a better view of Green Day via the big screens at the back and sides of the stage, as, pre-empted by the "Blitzkrieg Bop" drunken bunny and the "Nature Boy"/ moon landing theme again, Green Day took the stage. They were straight on it again, ripping into another vitriolic "American Idiot", Billie Joe Armstrong exhorting the crowd to sing, "so loud, every fucking redneck in America hears it!" They'd certainly have heard the climactic fireworks eruption at the end of this number - a great advantage to the outdoor venue!
A brilliant, sinewy "Jesus Of Suburbia" followed, sweeping through its 4 parts with gusto, the audience hanging onto Billie Joe's every movement. I know U2's Bono (whom we'd seen yesterday) has the reputation of being the ultimate audience mass communicator, but tonight Billie Joe held this audience in the palm of his hand, knocking Bono's performance yesterday into a cocked hat. All 65,000 of us were Billie Joe's bitches tonight!
The set followed the same pattern as their recent Cardiff gig - statement of intent powerfully made, then the cartoon punk rock fun and frolics. The "let's form a band" segment was particularly memorable, as Billie Joe dragged a 14 year old kid in identikit "mini-me" clobber up to play the guitar riff, before being given said guitar at the end! Their version of "Shout" was the only really unnecessary moment in an otherwise totally fat-free, brilliantly planned and expertly delivered set. Rat Scabies lookalike drummer Tre Cool, strong-arm bassist Mike Dirnt in his low-slung Johnny Ramone pose, and hyperactive centre of attention Billie Joe made for a stunning visual spectacle in themselves, never mind the frequent pyrotechnics!
After a near 2 hour set which simply ripped by, a strident, awe-inspiring "Homecoming" and a solo "Good Riddance", followed by the inevitable fireworks display into the inky sky, completed a quite remarkable resurrection for Green Day. On the strength of the last 2 nights' shows, the mantle of "Ultimate Stadium Band" may just have changed hands!
Note for future Bowl gigs though - parking in the car park was the right thing as they cordoned off the local streets afterwards, but getting along the A-roads back home was slow - not home till 2.15 a.m. D'oh!
Tuesday, 5 January 2010
667 PSYCHEDELIC FURS, The Others, London Shepherd's Bush Empire, Thursday 23 June 2005
An early birthday treat, this; a rare gig from the reformed Psychedelic Furs, one of my favourite 80's bands and a band I simply described as "colossal" the last time I saw them - 18 years ago!
Hit the road just after 6 with Rachel, and a traffic-free run saw us park up at 10 to 8. Got into the venue just before support The Others took the stage at 8. Hotly tipped by the NME, they were a bass-led spiky amalgam of Cure dynamics (the bassist sported a Robert Smith spider-plant hairdo, and they totally ripped off "In Between Days" for one of their numbers) and thrashy New Wave attitude. Shame tunes were in short supply, shame the vocalist (who introduced practically every song with, "we are The Others") didn't have the voice to match his acerbic attitude, and shame all their fans got chucked out for invading the stage!
We met up with our London friends during their set, then reminisced as the place filled up to a respectable level (by no means sold out, and full of ageing rockers and Bowie-heads - I felt quite young, despite this being the eve of my 40th birthday!).
Just as the auditorium plunged into darkness, heralding the entrance of the Furs, I remarked to Rachel that this one would be either triumph or disaster. Thankfully it proved most emphatically the former; Richard Butler, black clad and looking rakishly cool and bloody good for his age and profession, led the Furs into an opening "Into You Like A Train", the place went nuts and you immediately knew it was going to be a very special night.
The Furs were criminally overlooked in my view, but are perhaps the quintessential 80's rock band - Bowie-esque glam stylings, a touch of synth, glacially cool vocalist and towering tunes. It took just 3 numbers before "President Gas" drew me into the mosh, and there I stayed, grinning like a loon, 22 again. I shook the man's hand during the edgy, sleazy and sexy "High Wire Days", then after a breather I was back in it for the soaring, majestic "Heaven" with its' evocative, tumbling bass line, then set closer, my favourite; the titanic "Forever Now", Butler whirling like a dervish and putting heart and soul into his performance.
The set was capped by encores featuring the inevitable "Pretty In Pink" and a rampant "India", filling out an hour and a half of sheer brilliance. By no means flawless - Butler missed a number of high notes, particularly during "The Ghost In You", and the guitar, never really a key feature of the Furs sound (usually textural, with the synth or sax normally taking the lead) sounded thinner the closer I got to the stage. However the ragged edges made the experience even better in so many ways, and in terms of sheer passion, this knocked out both recent stadium shows. A remarkable resurrection and home by 12. The Psychedelic Furs - colossal, again!
Hit the road just after 6 with Rachel, and a traffic-free run saw us park up at 10 to 8. Got into the venue just before support The Others took the stage at 8. Hotly tipped by the NME, they were a bass-led spiky amalgam of Cure dynamics (the bassist sported a Robert Smith spider-plant hairdo, and they totally ripped off "In Between Days" for one of their numbers) and thrashy New Wave attitude. Shame tunes were in short supply, shame the vocalist (who introduced practically every song with, "we are The Others") didn't have the voice to match his acerbic attitude, and shame all their fans got chucked out for invading the stage!
We met up with our London friends during their set, then reminisced as the place filled up to a respectable level (by no means sold out, and full of ageing rockers and Bowie-heads - I felt quite young, despite this being the eve of my 40th birthday!).
Just as the auditorium plunged into darkness, heralding the entrance of the Furs, I remarked to Rachel that this one would be either triumph or disaster. Thankfully it proved most emphatically the former; Richard Butler, black clad and looking rakishly cool and bloody good for his age and profession, led the Furs into an opening "Into You Like A Train", the place went nuts and you immediately knew it was going to be a very special night.
The Furs were criminally overlooked in my view, but are perhaps the quintessential 80's rock band - Bowie-esque glam stylings, a touch of synth, glacially cool vocalist and towering tunes. It took just 3 numbers before "President Gas" drew me into the mosh, and there I stayed, grinning like a loon, 22 again. I shook the man's hand during the edgy, sleazy and sexy "High Wire Days", then after a breather I was back in it for the soaring, majestic "Heaven" with its' evocative, tumbling bass line, then set closer, my favourite; the titanic "Forever Now", Butler whirling like a dervish and putting heart and soul into his performance.
The set was capped by encores featuring the inevitable "Pretty In Pink" and a rampant "India", filling out an hour and a half of sheer brilliance. By no means flawless - Butler missed a number of high notes, particularly during "The Ghost In You", and the guitar, never really a key feature of the Furs sound (usually textural, with the synth or sax normally taking the lead) sounded thinner the closer I got to the stage. However the ragged edges made the experience even better in so many ways, and in terms of sheer passion, this knocked out both recent stadium shows. A remarkable resurrection and home by 12. The Psychedelic Furs - colossal, again!
668 REM, The Zutons, IDLEWILD, Jonathan Rice, Cardiff Millennium Stadium, Sunday 10 July 2005
(OK I confess - this is not the actual set list! It's a download of the set from their website. Just wanted to share it anyway!)
Third of 3 scheduled huge stadium gigs this year, only this one wasn't so huge, as it turned out! We hit the road at 11, getting to Cardiff at 12.30 and parking up on the A470 road into the city centre in a free open-air car park to avoid the departure crush, then had lunch in a pub whilst watching the British Grand Prix! We'd wandered over to the stadium earlier, to find out that they'd "only" sold 33,000 tickets for this one, so they were only using half the stadium. An odd concept, but sure enough, once we got in on doors at 4, we found the stadium roof closed on this hot day, and a black drape descending from said roof behind the stage, giving this cavernous venue an unexpected intimate feel. Very odd!
Also unexpected was that as we took a seat stage right, REM bassist Mike Mills poked his head out from backstage, so I quickly dashed over and got my programme signed and a handshake. Result!
Singer-songwriter Jonathan Rice (who'd been wandering around the venue moments beforehand, and had actually initially been refused re-entry backstage!) came on at 5.30 prompt and peddled some strumalong alt-country which for me veered too much toward the trad stuff for my liking. Pleasant enough, but just bland hors d'oeuvres before some really tasty stuff...
Idlewild - appropriately enough given their "Green"-era REM influences - kicked off at 6.15 into a brilliantly chosen set of their moving, atmospheric rock. Opener "Love Steals Us From Loneliness" initially suffered from thin sound, but 2nd number "You Held The World In Your Arms" nailed it good and proper. By track 3 "Little Discourage" they were in full flow, spiky and dynamic, and the following "Modern Way Of Letting Go" had never sounded better, thrashy yet coherent and fulsome. "El Capitan" followed, big and anthemic, before Roddy announced that they were going to try "Sweet Home Alabama", duly bringing on Mike Mills to add piano while Roddy stumbled through the lyric from a cribsheet. Needless to say, this went down an absolute storm. Ending the set - far too soon - with a touching "I Understand It" and a huge, anthemic "American English", filling this cavernous yaw of a venue, this was a perfectly executed set from a band who have raised their game beyond sight of late, and are now fulfilling all their potential.
Weirdly enough, the Zutons were next, having 50 minutes to Idlewild's 30, and even weirder they went down a storm. Their simple, knockabout scally scouse pop was okay to poor, better than I expected actually, but what few cred points they'd gained with me they immediately lost at their final song, a self-indulgent instrumental during which the singer introduced the band! You're a support, bucko, no-one's here to see you, so fuck off!
No, we were here for REM - I'd booked these tickets 10 months ago on the strength of their history rather than their 2 recent disappointingly quiet and introspective records, so as ever I wasn't really sure what to expect, apart from variables! So they sauntered on at 8.35, Stipe immediately the focal point in blue and grey, with a blue stripe painted across his eyes, and straight into "Bad Day", their fast, frantic yet articulate post-millennial Bush rant, played with unexpected venom. What a start!
More followed, as "What's The Frequency Kenneth" rocked the joint before a brilliant "The One I Love". Surely they can't keep this pace up! Unfortunately, they couldn't - a slow, sinister "Drive", nevertheless full of mood and menace, heralded a downturn in pace and unfortunately passion. Don't get me wrong; I still totally enjoyed all the set, it's just that the mid-section, based on their more introspective recent work, didn't soar like the first clutch of songs. Never expected it to really, so no surprise and no real disappointment. Nevertheless, "Strange Currencies" was an urging, stately ballad, and "Everybody Hurts", dedicated to the victims of the recent London terrorist attacks, was fittingly poignant, Stipe's vocal cracking at the yearning high notes, bringing the house down with raw emotion.
The set then supercharged itself to life with an unexpected and awe-inspiring "These Days", from my favourite REM album "Life's Rich Pageant". Spiky, agitated and pacey, with Stipe kinetic and energetic, it breathed fire back into the performance. An anti-Bush "Final Straw" and a jagged, acerbic "Orange Crush" kept the fire burning before the inevitable set closer of "Losing My Religion". Easy pops preceded the encores, as the screens projected the tour destinations on a map, ending (as this was the scheduled tour closer) on "Cardiff" to huge applause. Encores featured a messy but welcome "Exhuming McCarthy" and Michael, a riveting performer throughout, giving quick plugs to Oxfam and Amnesty (for whom I'd already done my bit, having my pic taken for their campaign) before "Man On The Moon".
And the getaway plan worked! Home by 12.30 after a variable (as expected), often brilliant but always damn fine performance from Athens' finest; REM!
Also unexpected was that as we took a seat stage right, REM bassist Mike Mills poked his head out from backstage, so I quickly dashed over and got my programme signed and a handshake. Result!
Singer-songwriter Jonathan Rice (who'd been wandering around the venue moments beforehand, and had actually initially been refused re-entry backstage!) came on at 5.30 prompt and peddled some strumalong alt-country which for me veered too much toward the trad stuff for my liking. Pleasant enough, but just bland hors d'oeuvres before some really tasty stuff...
Idlewild - appropriately enough given their "Green"-era REM influences - kicked off at 6.15 into a brilliantly chosen set of their moving, atmospheric rock. Opener "Love Steals Us From Loneliness" initially suffered from thin sound, but 2nd number "You Held The World In Your Arms" nailed it good and proper. By track 3 "Little Discourage" they were in full flow, spiky and dynamic, and the following "Modern Way Of Letting Go" had never sounded better, thrashy yet coherent and fulsome. "El Capitan" followed, big and anthemic, before Roddy announced that they were going to try "Sweet Home Alabama", duly bringing on Mike Mills to add piano while Roddy stumbled through the lyric from a cribsheet. Needless to say, this went down an absolute storm. Ending the set - far too soon - with a touching "I Understand It" and a huge, anthemic "American English", filling this cavernous yaw of a venue, this was a perfectly executed set from a band who have raised their game beyond sight of late, and are now fulfilling all their potential.
Weirdly enough, the Zutons were next, having 50 minutes to Idlewild's 30, and even weirder they went down a storm. Their simple, knockabout scally scouse pop was okay to poor, better than I expected actually, but what few cred points they'd gained with me they immediately lost at their final song, a self-indulgent instrumental during which the singer introduced the band! You're a support, bucko, no-one's here to see you, so fuck off!
No, we were here for REM - I'd booked these tickets 10 months ago on the strength of their history rather than their 2 recent disappointingly quiet and introspective records, so as ever I wasn't really sure what to expect, apart from variables! So they sauntered on at 8.35, Stipe immediately the focal point in blue and grey, with a blue stripe painted across his eyes, and straight into "Bad Day", their fast, frantic yet articulate post-millennial Bush rant, played with unexpected venom. What a start!
More followed, as "What's The Frequency Kenneth" rocked the joint before a brilliant "The One I Love". Surely they can't keep this pace up! Unfortunately, they couldn't - a slow, sinister "Drive", nevertheless full of mood and menace, heralded a downturn in pace and unfortunately passion. Don't get me wrong; I still totally enjoyed all the set, it's just that the mid-section, based on their more introspective recent work, didn't soar like the first clutch of songs. Never expected it to really, so no surprise and no real disappointment. Nevertheless, "Strange Currencies" was an urging, stately ballad, and "Everybody Hurts", dedicated to the victims of the recent London terrorist attacks, was fittingly poignant, Stipe's vocal cracking at the yearning high notes, bringing the house down with raw emotion.
The set then supercharged itself to life with an unexpected and awe-inspiring "These Days", from my favourite REM album "Life's Rich Pageant". Spiky, agitated and pacey, with Stipe kinetic and energetic, it breathed fire back into the performance. An anti-Bush "Final Straw" and a jagged, acerbic "Orange Crush" kept the fire burning before the inevitable set closer of "Losing My Religion". Easy pops preceded the encores, as the screens projected the tour destinations on a map, ending (as this was the scheduled tour closer) on "Cardiff" to huge applause. Encores featured a messy but welcome "Exhuming McCarthy" and Michael, a riveting performer throughout, giving quick plugs to Oxfam and Amnesty (for whom I'd already done my bit, having my pic taken for their campaign) before "Man On The Moon".
And the getaway plan worked! Home by 12.30 after a variable (as expected), often brilliant but always damn fine performance from Athens' finest; REM!
669 MEW, Pure Reason Revolution, London Institute of Contemporary Arts, Monday 25 July 2005
Yet another in an increasing number of London jaunts on a school night, but this time there was no debate. We were up for the return of the mighty Mew, having scored tix for their hopefully triumphant return at the ICA before it completely sold out. Yup, it wasn't just us waiting for their return!
So a carload of us decided to brave the alleged war-zone that London has apparently become over the last couple of weeks, thanks to terrorist attacks on the transport systems. However, despite the usual congestion, an inspired plan saw us parking in Pall Mall, just round the corner from the ICA on the Mall, at 10 to 8, and for free! Good thing too, as the Admiralty Arch Car Park charged £13! Ouchie!
The venue itself is a study in contrast - a posh arts theatre lobby leads to an equally posh balcony bar, which then leads into a black-painted, dingy, scuzzy little rock'n'roll room not unlike Oxford Zodiac, with an equally high stage. We wandered in for support Pure Reason Revolution, but quickly wandered out as their initially intriguing wall-of-sound turned into some horrible prog rock doodling and pseudo-choral droning which recalled Jefferson Airplane! In other words, exactly the type of band we fought the punk wars to get rid of!
So we popped back to the bar and had a drink, standing next to Creation boss Alan McGhee! Resisted the temptation to go up to him and say, "Mr. McGhee, don't make me angry...you wouldn't like me when I'm angry!"
Expectations were running high as we wandered back into the venue for Mew's anticipated 9.30 start. After delivering one of the most extraordinary, breathtaking and dazzlingly original albums for, well, ever, in 2003's "Frengers", the big big question was, "what next?" How can they possibly hope to top, or even come close to equalling, that? Well, they kept us waiting for 10 minutes past the allotted time, before coming on to a heroes' welcome from this audience of devotees. Opening with a moody, almost full instrumental number, they were quickly into their stride with a blitzing trio of "Am I Wry? No", "156" and "Snow Brigade", the opening triad from that extraordinary "Frengers" CD. Full of smouldering power, widescreen sound and beauty, they were supreme renditions, ever-so-slightly tinkered with to keep them fresh, and segued into each other perfectly, recalling Pale Saints in that aspect.
As for new stuff, "The Zookeeper's Boy" firmly buried any fears that this might not be up to snuff; this was an epic emotive song of mighty soaring power and beauty, prompting a "Wow!" moment between Rachel and myself. Even amongst Mew numbers, this was special! The magical "She Came Home For Christmas", perfectly complemented by a snow-scaped film projected onto the cloth backdrop, followed, Jonas' vocals an expression of purity and clarity, particularly in the inspirational middle eight. Another couple of newies followed; "Why Are You Looking Grave", a crunchier new number featuring a guest vocalist (an old friend of the band, apparently) projected onto the backdrop - none other than J Mascis! The set closer "Apocalypso" rounded off quite the quickest 45 minutes I've spent recently. Utterly brilliant.
An encore of "Comforting Sounds", Johan again accentuating the bond between this very special band and their audience with a heartfelt and effusive thanks, rounded off this extraordinary experience. All questions answered, all fears buried - Mew are back and this time the world will take notice!
So a carload of us decided to brave the alleged war-zone that London has apparently become over the last couple of weeks, thanks to terrorist attacks on the transport systems. However, despite the usual congestion, an inspired plan saw us parking in Pall Mall, just round the corner from the ICA on the Mall, at 10 to 8, and for free! Good thing too, as the Admiralty Arch Car Park charged £13! Ouchie!
The venue itself is a study in contrast - a posh arts theatre lobby leads to an equally posh balcony bar, which then leads into a black-painted, dingy, scuzzy little rock'n'roll room not unlike Oxford Zodiac, with an equally high stage. We wandered in for support Pure Reason Revolution, but quickly wandered out as their initially intriguing wall-of-sound turned into some horrible prog rock doodling and pseudo-choral droning which recalled Jefferson Airplane! In other words, exactly the type of band we fought the punk wars to get rid of!
So we popped back to the bar and had a drink, standing next to Creation boss Alan McGhee! Resisted the temptation to go up to him and say, "Mr. McGhee, don't make me angry...you wouldn't like me when I'm angry!"
Expectations were running high as we wandered back into the venue for Mew's anticipated 9.30 start. After delivering one of the most extraordinary, breathtaking and dazzlingly original albums for, well, ever, in 2003's "Frengers", the big big question was, "what next?" How can they possibly hope to top, or even come close to equalling, that? Well, they kept us waiting for 10 minutes past the allotted time, before coming on to a heroes' welcome from this audience of devotees. Opening with a moody, almost full instrumental number, they were quickly into their stride with a blitzing trio of "Am I Wry? No", "156" and "Snow Brigade", the opening triad from that extraordinary "Frengers" CD. Full of smouldering power, widescreen sound and beauty, they were supreme renditions, ever-so-slightly tinkered with to keep them fresh, and segued into each other perfectly, recalling Pale Saints in that aspect.
As for new stuff, "The Zookeeper's Boy" firmly buried any fears that this might not be up to snuff; this was an epic emotive song of mighty soaring power and beauty, prompting a "Wow!" moment between Rachel and myself. Even amongst Mew numbers, this was special! The magical "She Came Home For Christmas", perfectly complemented by a snow-scaped film projected onto the cloth backdrop, followed, Jonas' vocals an expression of purity and clarity, particularly in the inspirational middle eight. Another couple of newies followed; "Why Are You Looking Grave", a crunchier new number featuring a guest vocalist (an old friend of the band, apparently) projected onto the backdrop - none other than J Mascis! The set closer "Apocalypso" rounded off quite the quickest 45 minutes I've spent recently. Utterly brilliant.
An encore of "Comforting Sounds", Johan again accentuating the bond between this very special band and their audience with a heartfelt and effusive thanks, rounded off this extraordinary experience. All questions answered, all fears buried - Mew are back and this time the world will take notice!
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