Saturday 15 August 2009

To all the gigs I've loved before...


1. Elbow: the Other Stage, Glastonbury, June 2008

The hottest, driest glastonbury in a decade. Saturday evening and the sun is setting. Elbow come out with trumpets for "Starlings"... and the soul just soared off. Transcendent.

2. Sonic Youth, the "Dirty" tour, Auckland Town Hall, Feb 1993

During Orientation week at university. Never before or since have I heard such ferocity. The band torture all their electric machines. They use the noise and feedback like some kind of post-apocalyptic jazz. Kim Gordon is just ridiculously sexy.

3. Straitjacket Fits, Big Day Out, Auckland 1994

Their breakup gig. Musical differences. blah blah. They came on in-between someone like Smashing Pumpkins and Soundgarden... and wiped the floor with all of them. Noise, groove, power, passion. Fantastic.

4. Finley Quaye, Shepherds Bush Empire, circa summer 1998

Quaye came out grumpy and stroppy. They played the first 5 tracks of the album in order. Then he stormed off stage for 5mins while the band improvised some reggae beat. He came back with, as I recall, a reefer the size of a cigar ... and a large smile. The band, who were absolutely sublime, swept him up and they played another 2hours of the finest live reggae I'd ever heard.

5. Ian Brown, Brixton Academy, 2007 (or 06 perhaps)

More than half an hour late, Brown comes swaggering out, shades on, hood up, alarms aloft ... and without a word launches directly into "I Wanna Be Adored", arguably the defining song of a whole generation song and the Roses' finest moment. Couldn't be more direct and in your face if he'd dropped his trousers along with it. Brixton went instantly 120% bonkers, upstairs.. downstairs.. the crowd drowned out the entire PA singing so loud. Raining beer from every direction, men hugging and fighting and shouting. I've never seen such fantastic mayhem. Rip-roaringly awesome gig. The type where you come out sweaty, sticky, hoarse and exhausted. Pure genius.

6. Richard Ashcroft, Isle of Wight music festival, June 2007

Another sunset gig. Ashcroft with his hippy hair and aviators. Strong, honest, hardwon and heartfelt songs about surviving, conquering and losing once again to depression. Blissed out and transported in and out through his world.

7. James, Brixton Academy, Dec 2008

I'd never been a James fan before this gig, but was happy to be persuaded by my partner. The gig was fun. Fun like kids have fun. Simple, abandoned, old school, good time fun. Singing along, laughing at their antics, sympathising in the experience shared. Brilliant way to run in to Christmas.

.. and potentially;

8. U2, 360deg Tour, Wembley Stadium, August 2009

For a U2 show, this was stripped down to the barest of bones. Just the fab four on a plain black stage with minimal equipment or gear of any sort... and a 100ft War of the Worlds style alien claw above them with a 360deg high def screen. Throughout the entire concert the audience are as almost loud as the band. We're right up the very back and the view is stunning. This is U2 the way they should've been 15years ago. Forget zoo-tv and machpisto, crazy space-trooper stage costumes, celebrity guests and pranks, americana, over-earnest accoustic sets on a stage wing extension, slogans and branding and sweaty, middle-aging rock star-o-rama. The band are at their best when their personality and image melt away and the music takes over. They do anthemic better than anyone else. They can run a fantastic set, though they continue to make the odd bizarre production decision (this time around a dirty-diesel-fired lumpen "remix" of "I know I'll go crazy..." .. well at least until a snorting rocket fueled riff near the end from the Edge ). Highlights, an encore version of "Ultraviolet" - a properly accomplished song, followed directly by a strong, pulsing, resonant "With or Without You". And earlier a spotless, moving version of "Walk On" dedicated to Aung San Suu Kyi.

9. Pearl Jam, O2 Arena, London, 18 August 2009

Never seen Pearl Jam before but own all the studio albums. I was expecting to be impressed by Vedder, he's arguably the greatest songwriter of my generation. But I was totally blown away by Mike McCready. And the band. Each of them individually was worth the price of admission. Matt Cameron has always been my favourite drummer, he's got power and groove, and an efficiently uncluttered style.
Left wondering, where did this music come from? Led Zep I guess fathered all of heavy-blues rock.
Personal highlight MM's solo in Even Flow, felt like about 30minutes long but was probably only 5. In this granite-solid pop song, he took it and bent it out into something new and free. amazing.
Having said all of which - Jeff Ament on bass is the bedrock of their sound. Massively underrated.
And as for Vedder... I could watch him for days on end. He's one of the very few artists around where you couldn't care less what songs he plays - everything he does is soulful, musical, honest, impassioned.
Strong case for the best active band in the world. Perhaps vying with Radiohead.

10. Finn Brothers, Royal Albert Hall, .. can't remember.

Not sure whether they do it often... but they came onstage in a pantomime horse. The Finn brothers' music is timeless and for me, deeply rooted in New Zealand's character, history and geography. Neil is the better songwriter, and Tim has the better voice, but together they're sublime. "Won't Give In" is one of my all time favourite songs. The RAH acoustics are the best in London. They played "Don't Dream It's Over" and I actually cried. The gig was on the day they'd just found out the Paul Hester had committed suicide in Australia. Nick Seymour was there as they were all going back for the funeral, and he joined them on stage.

Tuesday 11 August 2009

The Ting Tings...arty punkpop prodigies


Last week I joined my local library, and immediately began pillaging their somewhat limited music collection. One of the (relative) gems uncovered so far is the Ting Tings' debut album We Started Nothing. Hitherto I've been exercising my hype-scepticism in their direction, but was mightily impressed by their Glasto show (on the telly that is). The hype is enormous around this young duo, and only partly because they're so clearly design and fashion literate.

I've been scouring the recesses of my brain trying to figure out why the drums + shouty/rock female voice thing is so familiar... it's taken two weeks and I finally just got it... they sound a bit like a band making a whole career out of covering the Bangles' "Walk like an Egyptian". Which is grossly unfair because a) they're not, and b) there's a lot more depth than that would imply... but I can't altogether escape the echo of it. More generously, there's a clear influence from the Pixies, but then, fully half of all indie music references the Pixies.

We all know "That's not my name", but I'm surprised to find it still bears repeated listens, and I caught myself singing it in the shower a couple of days ago. My favourite track though is the first "Great DJ". It has a lazy indie-does-disco feel, and I'm really hoping for an electro house/dub remix (amazed there isn't a half dozen!). The Ting Tings' main trick is their adept dual use of the increasingly prevalent live-loop kit (I have no idea what it's called or how it actually works but everyone seems to be doing it nowadays). Essentially they lay a beat, add some guitar and /or keyboard loops and sing feisty young female in the noughties lyrics over the top.

It's mind-numbingly simple, but they have such a breathtaking knack for melodic hooks that it almost carries the whole album. "Shut up and let me go" fair stomps along, while "We Walk" has more subtlety but the same formula. Some tracks are weaker than others - "Fruit Machine" for example sounds like an early prototype for what would become "That's not...". "Traffic Light" is something of a departure from the punkpop mold, a slower bouncier .. ditty of a song, perhaps Bjork in her self conscious-coy persona.

It's a joyfully naive record. They have the "why shouldn't I?!" arrogance-and-insecurity of youth, but are just sophisticated enough to know not to overcomplicate. The structural/musical blueprint won't stretch any further, but the strength of the songwriting is such that I fully expect them to grow and develop further from here.