Speaking of boredom, let’s start with Tony Wilson’s gloriously earnest and nonchalantly pretentious Buzzcocks/Magazine documentary from 1978. In many ways it seems far longer ago than that, what with girls who work in Woolworths and all that quaint smoking indoors. Don’t make ’em like this anymore, eh? Continue reading
I’m loath to compare anything to a box of chocolates, but Amanda Palmer gigs do come close. The choice as to what you might get ranges from the likelihood of a soft-centred collaboration with her husband Neil Gaiman, to the slightly bitter aftertaste of something from 2010’s ill-advised Evelyn Evelyn project. Continue reading
Yeah, I’m still here, although increasingly writing elsewhere. Notably I wrote for BadRep on Why ‘Chav’ is a Feminist Issue.
Have some more songs.
Lupen Crook, Junk n Jubilee
This from oh, such a while back now. Seems like a whole other London. A cut-off video, which is all I could find, but do hear the proper version, which still makes me tense with the urge to put my fist through the window of the Hawley Arms:
Manic Street Preachers, A Design For Life
This from the band too weird to talk about when you talk about the 90s. Included half because I’ve just been back to the place I grew up (and for ‘grew up’, read ‘grew up a Manics fan’) and half because the song resonates with me right now, with reality topping dystopian visions at every turn almost faster than one can think them up:
Oh, and I went to an Amanda Palmer gig last Friday. Not to damn with faint praise or anything, but I liked her more than I did when I wrote this.
There are times when I think that readers of this blog are simply bearing witness to the Orwellian tragedy of someone once boundlessly enthusiastic about live music slowly having it ground out of them by the suspicion that I’d be better off reading a book than spending yet another evening squashed, skint and bored in Camden while some overindulged former public schoolboy vomits down a microphone, but oh well, on with the motley.
I was sorting through some things last night – ticket stubs, diaries, anal-retentively compiled whathaveyou – and look, these are all the gigs I went to in 2004, back when Dirty Pretty Things was still a club night named after a Stephen Frears film rather than a by-word for frustratingly pedestrian musical spin-off projects:
As Gilbert and Sullivan never quite got around to observing: Carl Barat’s lot is not a happy one. An ‘unpopular’ Home Counties childhood and ‘disappointing’ studenthood; the Libertines’ brief and glorious flicker of fame marred by burglary, breakup and breakdowns; hauling a zombie version of the band around the world on tour while Doherty languished at home pointing the finger; surgery; a solo descent into spurious “DJ”ing, club nights and generally wandering lost among Primrose Hill scenesters old enough to know better; Dirty Pretty Things – still a band of admirable, workmanlike effort but diminishing returns and an inevitable grind to a halt – and then a self-confessed ‘year of demons’. (Only a year, dude?) Even if things currently seem to have taken a deserved upturn – new girlfriend Edie Langley, incipient fatherhood, solo album and book just out – the path that got him here’s still not the sort of beat a chap would choose.
Like a certain kind of Dad tends to ruin Bob Dylan, Julie Burchill almost ruined Patti Smith for me. I only really trust Julie Burchill’s opinion on the need to outlaw asbestos, and my early-teenage reading of her enthusing over Smith made my eyes roll like a pill dropped on the floor of Soho House. A year or so later, I listened to Horses and kicked myself. Her stark and disdainful image on the record sleeve left me as amazed as the music. To realise that not only was it okay to be female, to be queer, to be ungroomed, to read, to write, to have ambition, to want to get out, to let yourself go – it could actually be brilliant.
On Saturday I went to her book-signing at the South Bank. The book itself is interesting, not least for its function as a kind of anti-confessional, a memoir shrouded not in prudishness or desperate self-mythology but content, affectionate dignity. She also played three songs, the second of which was her cover of ‘Because the Night’. She asked the crowd to join in to cover her nerves, and we did, hesitantly and subdued, nearly reverent:
There is something in her recasting of Springsteen’s song, the swooping and quavery way she delivers ‘they can’t hurt you now…’, that perfectly captures for me the certainty of protection afforded by music and its sharing, the sense of at once standing recklessly, defiantly before the world and taking refuge from it with another who understands. Making it so by proclaiming that it is so. On Saturday, collectively participating in its singing felt like something primitive, a basic ward against the elemental world outside my head. (It’s the chorus that does it. Not that the security, trust and defiant resolve embedded in its primal thump is peculiar to this song; I’d think, and frequently have thought, the same when singing drunkenly along to Bon Jovi’s ‘Livin’ on a Prayer’.)
Did you know Patti Smith used to work as a bookseller? She talked a bit about that, about having the permanent mark of the bookseller that means that, when in bookshops these days, she still occasionally gets asked for directions, and about the pre-fame certainty of failure and unappreciation. This led on to her method of getting over this by recalling that William Blake was an unappreciated and ridiculed failure for his entire life. I must admit, my optimism worn down to a stump, that whenever I hear variations on this theme I find it trite at best and depressing at worst, rather than comforting, but I managed to avoid thinking so for the duration of her saying so. It helped that her speaking voice is gorgeous: low, hypnotic, sleepy, vaguely like Dylan’s, chopping off the ends of words and pronouncing ‘cigarette’ without its middle syllable so it sounds like ‘secret’.
Face to face, she was astonishingly old, I thought: nerve-thin, tightly strung, beatific. Smile. Clasp of the hand. I skipped off down the South Bank in the spring drizzle, the book clutched to me like it could stop bullets.
In an Islington pub for pre-gig drinks, I order that unpretentious student/goth classic, a snakebite-and-black. Because this pub has delusions of grandeur, the drink comes served in a goblet of engraved glass, an elegant setting belying the cheap and giddy good time that swirls in its velvety depths. As a stylish repackaging of the marginal and derided, it’s quite an Amanda Palmer way of doing things.
Across the street on the forecourt of the Union Chapel, a man with the dress and demeanour of a Victorian undertaker is peddling on a contraption of polished wood that might be a piano, might be a hearse. Slightly too-large-for-comfort sockpuppets are carried by men in black. The circus is in town, gloriously, and chancing across a beauty parlour full of sailors wouldn’t come as any great surprise. On the rows of wooden pews inside the venue, clusters of Palmerettes bloom like a thousand flowers: dark-eyed, candyfloss-haired, irrepressible and remarkably dressed. Amanda Palmer gigs are no bad place for the self-conscious, though; from the moment our hostess takes to the stage, resplendent this evening in a full-length swathe of black and white stripes, you can be fairly confident that no one’s looking at you. Although the evening features question-and-answer sessions and the auctioning of a painting completed during the show, this is less the Amanda and Friends Musical Cabaret that other of her gigs are more accurately billed as. Both the setting and her performance tonight ensure that the spotlight can barely drag itself away from her.
I often forget that the piano is a percussion instrument. In this respect Palmer’s playing is a revelation, a hammering out of powerful, authoritative notes that drill her words into your hindbrain. As a vocalist, she deserves superlatives that haven’t been invented yet; ‘Brechtian’ doesn’t come close, and neither does ‘punk’ or ‘cabaret’. Her voice tolls like a church bell, its dramatic depth and texture punctuated by the lightning-quick criss-cross of her hands on the keys. Her delivery of the songs tonight veers between imperious intensity (the stabbing staccato of ‘Runs in the Family’, or her nigh-on terrifying, breakneck cover of Jason Webley’s ‘Icarus’), and a yearning vocal caress which lights up ‘Boston’ and contrasts with the lyrical violence of ‘Delilah’. And then there are extraordinary, almost uncapturable moments, like her Struwwelpeter cover or the piece of Bach she plays after a typically nervy and self-effacing introduction. Her revelling in music is infectious and, like all too few artists, she concentrates on giving back as much enjoyment and enthusiasm as she inspires.
(There’s a lot to be said about whether it matters, and how much and why, that Palmer is a female artist. Talking before, during and afterwards with starry-eyed provincial girls who’ve made a pilgrimage to London for this gig, hearing them freestyle her Palin-baiting lyrics and indulging in unashamed pansexuality – of course it matters. When I was the age and in the dire smalltown straits of some of this crowd, there was no one comparable in the public eye to entertain, affirm or inspire. I had no one to nail the absurdity of street harassment with the crucifying accuracy of ‘Ampersand’, and nothing approaching ‘Bank of Boston Beauty Queen’ and its wry dissection of the rewards of self-actualisation. And so, as a female and a music fan, I’m grateful for her. But in many other ways, Palmer is a transcendent, liberatory force of nature, and the media she chooses matter less than the message.)
Back to tonight. The incongruous candlelit venue is ripe for subversion, and she takes great pleasure in having her charming companion deliver Derek and Clive’s profanity-ridden parody hymn. Later, the magnificent ‘Oasis’ becomes a sacrilegious sing-along, complete with happy-clapping and exuberant shouts of ‘CRACKWHORE’ from the congregation. The encore, however, sees her stand stock-still, hands clasped before her like she’s ready to recite at Sunday-school, and perform an astonishing unaccompanied cover of Tori Amos’ ‘Me and a Gun’. Clear-eyed and spine-chilling, it’s a no-but-seriously flipside to ‘Oasis’ that makes the crowd collectively catch our breath. The crystalline version of ‘The Point of it All’ which follows, heartwrenching enough on its own terms, seems more affecting for being something of a conduit for the emotions held in check throughout the previous song. A subdued but stunningly powerful final note, it sends me back onto the still-unreclaimed street rejoicing in faith reaffirmed. Praise be.
The debt that’s owed to Magazine and Howard Devoto, both musically and stylistically, is massive, from Radiohead’s paranoid melancholy to Joy Division’s jumpy genius. Morrissey, a fanboy from early on, would never have made his career complete without summing himself up to the point of self-parody in Devoto’s line I know the meaning of life / It doesn’t help me a bit. And on a Tuesday night in the twenty-first century, after the end of office hours, with London’s South Bank still marinading in post-Bank Holiday blues, peerless post-punk outfit Magazine are ‘reconvening’. The future ain’t what it was, alright.
This is my first gig at the Royal Festival Hall, and it feels about as incongruous as you’d imagine. Most of the glass-and-air-and-exhibition-space complex has the feel of an aircraft hangar, and waiting for the gig to start is akin to sitting around, sipping from plastic glasses of overpriced drink, in the hours before your flight is called. The bar urges you to order your interval drinks in advance to avoid the rush.
At a respectable hour we’re ushered to the fifth floor and out into seats in a box to the right of the stage. The whole venue is odd from up here. The boxes jut like cars on the slope of a rollercoaster and the crowd, spread out below us, is balding and bare-armed in the anticipatory heat. Magazine have always attracted the self-styled intelligentsia and that part of their fanbase appears to have grown in the thirty years they’ve been away. It is, as my companion observes, a very paunchy audience. There are children, there are mums and dads, there are ageing Camden casualties with their hair still – or perhaps, once more – an ill-judged peroxide. It feels very much like we’ve taken a night out from the present day and our current personae to not so much step back in time as step outside it.
The lights dim. Showtime. Projected onto the back of the stage is The Soap Show: Episode 2009. The spotlight glints off a glistening pate. It’s Devoto, dull-suited and scarlet-shirted, glaring round and holding the eye of the crowd like a ringmaster. He’s very far from his Bambi-eyed boyhood, but then aren’t we all. He’s aged with all the advantages of a teenager who started out looking fiftysomething, and he moves like a cross between Dr Evil and Nijinsky.
For the first hour or so the band run through third album The Correct Use of Soap, all the songs in order, including their bizarre and broken cover of Sly Stone’s ‘Thank You’. In between songs, Devoto deadpans quotes from the anonymous writer of Caring For Your Record Collection, a pamphlet which must be older than the thirty years the band are making up for. Its pay-off line is ‘Try to avoid, ever, lending records to your friends’.
‘Turn the guitar up!’ shouts a voice from the back, several times. The band pay no attention at all.
The album’s highlight as played tonight is ‘You Never Knew Me’, a swirling, tauntingly tender glimpse of the Buzzcocks roots which otherwise stay as well-hidden as a teenage tattoo at a job interview. They close the first half with ‘A Song from Under the Floorboards’, which Devoto introduces as a song detailing ‘what happens when you don’t manage your coping mechanisms properly’. Like Radiohead’s indebted ‘Let Down’, the song pulls you down with it, spreading its hands to show you Kafka’s bureaucratic nightmare extended to a world glimpsed only through the cracks. Devoto nails the chorus, snatching an imaginary insect from the air with precision so pinpoint that I flinch.
On the show’s second half the record is flipped. They open with Dave Formula playing the RFH organ halfway up the wall at the back of the stage, while behind a lectern at the stage’s lip Devoto intones his spoken-word piece ‘The Book’, the story of an entrance into hell, and for the rest of the set Noko’s guitar licks and Barry Adamson’s basslines come boiling, scourging, coruscating across the stage like something tangible.
As I’ve often said to emo kids in love with the validity of unconventional attraction: if you must form emotional attachments to the tubby and balding and call it cool, then Devoto’s your man. Like Morrissey these days, he’s got an odd balletic grace that transcends his age and stockiness. He slips the microphone out of its stand like he’s unsheathing a dagger, legs twisted and spine crooked like Steerpike, and his control of the stage tonight is something to behold: not a movement or a moment wasted. He doesn’t touch an instrument all night, but he’s dead-on in touch with the music: fingers snap, wrists flick, arms windmill, imaginary whips are cracked over the rhythm section. More than once he leaps, both feet off the ground, and brings his hands down flat at the split second the music stops dead. It’s something beyond dancing, something short of conducting: a blindingly obvious and perfect balance between controlled and controller.
In this mood, when he gives the off-the-cuff command that we don’t have to stay seated, within seconds there’s a rush for the space in front of the stage. The back rows and balconies rise and from there on in the set is thrown at us head-on, ‘Permafrost’ snarling unsettlingly out of the speakers with Devoto transformed from avuncular maitre d’ into something darker that holds the eye and ear transfixed. At the song’s apocalyptic apex, with the presence and possession of Kurtz in Heart of Darkness, Devoto sneers ‘I will / drug you / and fuck you / on the remains of the permafrost’ and the possibility that the little freak won’t doesn’t even cross the mind. (And with manual dexterity like tonight’s? Bring it on.)
Straight on into ‘The Light Pours out of Me’. Songs this good should be strictly rationed. Even – or especially – in the mouths of fiftysomethings, nothing sums up bored adolescence like the listlessly buzzing, chopped-out lines ‘Time flies / time crawls / like an insect / up and down the walls’. Always a band ahead of their time, post-punk while punk proper was still revving up and sounding no less undateable thirty years on, Magazine have achieved something like timelessness. There’s no ‘Shot By Both Sides’ tonight, due one suspects to their pioneering contrariness as much anything else, but the whole of the set has been a reminder that the best a band can offer is the chance of losing yourself in the crowd.
As a Valleys expatriate, part of my filial duty is to call home every so often and update my mother on how her golden child is getting on in the big city. Usually this is a simple matter of concise summation, adjusted for altered terms of reference based on the fact that my mother last went adventuring in 1972, but when describing what I did the previous evening to her I ran into difficulties:
‘Well… I went to an art gallery in the bit of London where all the bookshops are and stood in an exhibit of books which haven’t been written and only exist within the fields of reference of other books – it’s called an invisible library, right – and we heard a bloke play guitar and read bits out of Dylan’s experimental abstract novel and he had to stand in the window and play to the street because there wasn’t room for everyone inside, and then he’d tell us various writers were great because they didn’t give a fuck, and then he read some more which proved that the same writers actually did give quite a significant fuck about several things, and then some other blokes played guitar but we had to wait because they were in the pub so we told each other what we were reading and then Carl Barat, I’ve told you about him, turned up and he played guitar and everyone cheered and then we went to the pub. No, no, there wasn’t anything to drink in the art gallery.’
‘…Oh,’ said my mother, ‘you went to a happening.’
I suppose I did. There’s no clearer way of describing what went down in Theatreland’s shoebox-sized Tenderpixel Gallery. For an hour before doors the queue snaked along a drizzly and damp Cecil Court – a fantastically bijou Victorian remnant full of bookshops and antique emporia – drawing curious glances from shoppers and shopkeepers. I’d stake my reputation on the bet that everyone’s here for Carl Barat. Pity the dude who strode the length of the queue determinedly handing out postcards for a private view, before asking what the purpose of the queue was. ‘Do you mean to say I’ve given these out to musos, not art-lovers?’ he lamented, watching several get used for roaching material or impromptu shelter from the rain.
Had he been talking to me and not the impossibly glamorous girls behind me, I could have pointed out the irony of his agony, what with Kieran Leonard’s Pages in Plectrums night being basically an attempt to blend music, art and literature. The gallery’s tiny space featured a windowledge as makeshift stage, scattered with dog-eared copies of Improving Tracts. As many of us squashed inside as could fit, with about half as many again left outside to peer through the window like Dickensian urchins. Kieran takes to the stage, looking fretful. An organiser hauls half the PA system to the doorway and turns it to the street. A voice from the back: ‘It’s like the Beatles!’
I’m never sure what to make of Dylan-bothering beanpole Leonard, the latest in a long line of Friends of Carlos. In the current cultural climate I’m loath to criticise someone so obviously well-intentioned and good-natured and who knows one cover of Fear & Loathing in Las Vegas from the other. So, to be charitable, here is a list of things Kieran Leonard is better at than singing:
1. being a compere, albeit in the manner of a trendy English teacher getting the guitar out on the last day of term
2. keeping people entertained while the rest of the bill is reportedly in the pub
3. being the only other person in the world to rate Tarantula
4. earnest rants studded with nervy swearing
5. making sudden eye contact from under his eyelashes to EMPHASISE the IMPORTANT parts of his SONGS
And here is a list of things Kieran Leonard is worse at than singing:
1. white-water rafting (I’m guessing here, and stand to be corrected).
He talks about Harold Pinter, then he does a song about Harold Pinter. Cans of Red Stripe are passed among the organisers. My lips twitch.
A voice from the back: ‘Is he here yet?’
Kieran looks troubled: ‘D’you want to give him a call? I think he’s in the pub.’
And another thing about daytime dry gigs: there are children in the crowd. Real actual children. There are children who look like cartoons of children: gap-toothed Gavroches in Converse, talking of that time they saw the Specials support the Horrors and repeatedly droning the wrong words to ‘Gangsters’. I glance around me. No, there’s still no bar.
Thankfully, we are at this point graced with the presence of Drew McConnell, Peter Doherty’s erstwhile Babyshambles lieutenant and more recently anchor of the Phoenix Drive and Helsinki. He’s solo tonight, bearing an alarming resemblance to Zammo from Grange Hill and a disarmingly sweet stage presence. His couple of songs, one new and one a Fionn Regan cover, slip down well and are a welcome reminder that in terms of Meaning It trumping vocal talent, Dylan is still the exception not the rule.
A voice from the back: ‘Carl’s here! …oh, no, okay. He’s just getting some soup.’
Third up is Mark Morris. At first I wasn’t sure why that name should strike such dread into my heart, but as he clambered on ‘stage’ it all, like a hideous acid reflux, came rushing back: the Bluetones. The mid-Nineties. The horror, the horror. I suppose if Tim Burgess couldn’t make it, someone has to play the desiccated indie casualty still smearing around the lukewarm shite of their Britpop glory days. They haven’t changed a bit. According to Kieran, much of the Bluetones back catalogue drew inspiration from the relationship between Byron and Shelley. Odd, as the only line I could previously recall of their oeuvre ran When I am sad and weary, when all my hope is gone / I walk around my house and think of you with nothing on, and even that was an Adrian Mitchell rip-off. See also ‘dull’, ‘plodding’, ‘quavery’, ‘utterly wet and a weed’, and ‘the reason I became a Sex Pistols fan at the age of twelve.’
Before fucking off, Morris nods to the upcoming attraction: ‘Can never pronounce his second name, but you know Carl – the hat, the hair…’
A voice from the back: ‘He’s not wearing a hat tonight!’ A visible ripple of anticipation. ‘Ooooh.’
Kieran’s back and he gets us to précis Oedipus Rex – ‘Greek tragedy, yeah, that’s some fucked-up shit’ – before doing the best song of his I’ve so far heard, setting the tragedy’s narrative in the contemporary London club scene. More flashbacks to lower-Sixth English class.
As the ‘stage’ is prepared for El Barat’s grand entrance, I think about The Sixties redux. There are inherent problems with the sort of unexamined ancestor-worship that gets Dylan to number one with his most mediocre album in decades, to say nothing of its choking-off of many aspects of progressive politics. Sure, this country’s headlong dash back into the maw of the 1980s in political and economic terms calls for a cultural renewal based around civil rights, feminist, anti-racist and youth activism, but, with the exception of Love Music Hate Racism firebrand McConnell, this evening was more Sixties-chic. The fusion of music, art and literature worked, but it doesn’t make up for the music in question being well-meaning-white-boys-by-numbers, nor for the readings being the usual roll-call of dead white modernist males – Eliot, Hemingway, Pinter. The currently pressing issues of racism and wider politics were engaged with only through the prism of readings from Thompson and Dylan and by Leonard’s (like the man himself, well-meaning and tolerable if you grit your teeth) cover of ‘The Lonesome Death of Hattie Carroll’. I suppose it’s not a bad start, but blinkers and boundaries need to dissolve if Pages in Plectrums is to be anything other than a contribution to the Scene That Celebrates Itself.
A voice from the back: ‘Wahey!’
And then Carl’s here, and my attendant privileges (white, Western, in London, employed) mean that I can stop chin-stroking for a while and start putting my hands together. Polishing off a full glass of Guinness, he kicks off with a cover of Leonard Cohen’s ‘Famous Blue Raincoat’. For the first verse, there is not a dry seat in the house. And then you’re struck anew by the fact that, Christ, the man can mumble. The misjudged nature of this cover becomes apparent when he fucks up the line that has the title in, rolls his eyes heavenwards and peels the written chords off the back of his guitar, shaking his head and muttering about only having done that as a favour. He tosses his hair back and, to the biggest – actually, the only – roar of approval all evening, he throws himself headlong into ‘What a Waster’. The song provides an accidentally apt showcase for the Libertines’ golden touch with cultural references, having that line that juxtaposes the Beano and the unabridged Ulysses (or, as Carl has it tonight, with perfect impromptu scansion, the Celestine Prophecies). Just as I’m marvelling at how a musician of Carl’s status can be unfamiliar with the Cohen canon, he reminds me that he’s also got the technological understanding of an elderly maiden aunt: glancing around at the forest of handheld cameras and videophones before him and looking baffled as ever at his own charisma, he exclaims ‘Stop Youtubing me!’.
On the set’s very brief evidence, it’s difficult to tell if he’s still got it, but this is at least nothing like the dark days of his ‘DJ’ and ‘club night’ wheelings-out. He’s in good voice, holding his guitar like a long-lost lover, and remains the only man in the world capable of giving a convincing rendition of the ‘Time For Heroes’ solo. It’s also telling that Carl’s giving up on Cohen and launching into his own intricately expletive-strewn missive gets the best reception, perhaps elevating the need to do it for yourself over the contrived sincerity of paying homage to the old masters. Though his inability to fake it for the space of a song does make me fear for his acting career.
I never had especially high hopes for Dirty Pretty Things, and not just because they chose to operate with a bassist called Didz. Carl Barat’s self-destructive and self-fulfilling pessimism seemed to make their dragged-out demise inevitable. The man is essentially a throwback to a half-confected, distinctly pre-Sixties matinee-idol world of crypto-chauvinist chivalry and genuine honour, dignity and class, any product of which could never find mass acceptance or acclaim in a triple-distilled popular culture where pantomime, melodrama and public humiliation are painted as gritty reality, angst and authenticity are faked or appropriated wholesale, and the self-assurance of slick and cynical ironic posturing carries more weight and gets you further than this band’s faltering steps towards emotional sincerity. When did you last hear a song as guilelessly earnest and heartfelt as ‘This Is Where the Truth Begins’? If you don’t cringe, you’ll cry.
For a man out of time, engaged in a culture war where your side can only hope to go down fighting and where snarling gets you nothing but praise for how pretty your mouth is, the best you can hope for is a shrug and a smile. Much of Carl’s work post-Libertines has been you know how I feel out of place until I’m levered off my face writ large. ‘Bloodthirsty Bastards’ and the frankly astonishing ‘Buzzards and Crows’ transcend what begins as myopic scenester-baiting to make a stab at expressing universal and eternal human tragedy. Their protagonists are cornered, boxed-in, trapped, disgusted and despairing, Up The Bracket’s swaggering urban sprawl reduced to spying on cities through cracks in the floor. (Carl dedicated ‘Gin and Milk’ to longstanding fans last night. You have to wonder.)
Their second album gave up the fight in its opening song, its narrator abandoned face-up to the vultures, and then slumped into halfhearted crowd-pleasing fluff (‘Come Closer’, ‘Plastic Hearts’) or half-articulate railing (‘Kicks or Consumption’, ‘Best Face’), picking itself up only for the quietly embittered, finally accusative closure of ‘Blood on my Shoes’. By this point my feelings on the band had come almost full circle. Their first UK gig left me with an aftertaste of baffled disappointment at a frustratingly lacklustre affair, Carl’s head-hanging and the band’s general insubstantialness overshadowing their tightness and competency. They lacked entirely any hoped-for spark, that moment of connection which makes you glad you’ve made the effort. Their second tour saw them switch stasis for spontaneity, with unpredictable setlists and endearing interband dynamics, and subsequent gigs in Oxford, London, Sheffield, Cambridge, Paris and Edinburgh led me through unqualified adoration to a comfortable, affectionate familiarity, with a side-order of horror at the encroaching tides of industry imperatives that made the band at times little more than a soggy, sorry exercise in marketing and money-making. Study and work aside, it’s been a year or so since I felt compelled to go chasing round the country in search of some definitive, catalytic bangbangrocknroll glory-story that seems to have proved as illusory for them as for us.
And so we arrived at The Last Hurrah, a diminished hardcore of provincial girl veterans, reminded of better times and absent friends. A half-full thousand-capacity club in the bowels of the metropolis, plastered with aftershow posters that dripped with desperation. A solitary tout outside in the cold. The stage ungarnished except for a Union flag. The sound periodically fucking up. An ending fitting for the start?
Their songs are full of endings, of course, each delivered in an angry and bittersweet manner that rendered them equally apposite, from the bleakly resigned (they all followed me down here / to the story’s sorry end) to the grimly dignified (I know when I should leave in disgrace) to what passes for optimistic (here’s to tomorrow and the lonely streets we’ll roam / but if we don’t leave now we’ll find ourselves with no way home). With them providing the closing credits to their own biopic, there was little else fitting to do but join in.
The last ‘So…’. The last obnoxious oi-oi intro to ‘Playboys’. The last what would it take for me to be your man? The last digging out the deadwood, the last post on the trumpet and the last words: yeah yeah yeah. Carl is still breathtakingly beautiful. No Pete, god rest his musical soul, no Libertines songs and no special guests to speak of, just all the boys together. A final defeated bow, arms linked. No hope of hope and glory, but one of their better gigs, and one I’m glad I made the effort for. I know the essentials of what this band gave me: a friendship group imbued with the same spirit of adventure, defiance and recklessness, the same last-gang-in-town camaraderie as the songs we paid and travelled and shared all we had to sing along to. They gave me catharsis and connection. I can only give them the credit that appears to elude them even now.
Last night’s Indelicates gig was a welcome confirmation of their place in my heart. I was closer to the front than I’ve been for a while – front row in front of Julia, where a baffling amount of space had been left, possibly by her sheer force of charisma or possibly due to fear of incurring her imperious wrath by getting too close while being clearly inferior. Essentially I fell in love with this band the first time I saw them, and they’ve never really deviated from the impression I was left with then. As a five-piece they were interacting far more emphatically and playfully than I’ve seen before. The playing’s more tight these days and as a function of their confidence, precision and bottomless rage, the songs sometimes feel deliberately deployed like gunshots.
Something it’s taken me some time to appreciate is the band’s impressiveness in aesthetic terms. Both female Indelicates have a unique sartorial elegance and poise; where Kate remains serenely unruffled throughout, cool and almost detached in her own bass-heroic world, Julia throws herself into her role, singing with eyes-screwed-shut concentration and finishing songs with icy precision collapsing into uncomprehending, self-effacing smiles, looking half-embarrassed by her degree of accomplishment and its reception. Simon, dressed brilliantly bizarrely (cf last night’s t-shirt featuring Cher as Che Guevara), just stares and sneers and seethes. And then there’s their rhythm guitarist, bless him. A shining example of the lengths one must go to for attention when your bandmates have the stage presence of Simon and Julia, his services to swivel-eyed, spittle-flecked stagecraft reminded me of nothing so much as Steerpike playing Sid Vicious.
One new song: ‘I Am Koresh’, murky and militaristic, which in sound and concept reminded me of ‘Personal Jesus’ and is apparently from their upcoming second LP, ‘a concept album about Waco’. (Hmm.) ‘America’ was brilliantly done, dedicated to John McCain and with a crowd-baiting namecheck for Sarah Palin in place of Bill O’Reilly. (Hmm, again. As Sinead said afterwards, there’s layers-of-irony and then there’s just losing your mind. I have steadfastly avoided comparing my favourite bands to my previous favourite band, but part of ‘America’s dodginess for me is the same unsettled well yes, but – that bothered me (and them, to be fair) about ’Archives of Pain’ – by all means be blazingly angry about your conception of the vagaries of bleeding-heart liberals, but don’t let the finished article read like the Daily Mail. Not that ‘America’ isn’t vastly more subtle and superior.) At least there was no ‘Better to Know’, ‘America’s drippy cardigan-wearing cousin.
As for ‘Our Daughters Will Never Be Free’, I wish everyone with a progressive, performative bone in their body could have crammed in to see it. Julia, abandoning the keyboard, sang the first verse a capella to crowd handclaps before the band slammed in and she took entire control of the stage, tiny and piercing and wound-up with churning uberfeminist rage, disgust and despair. She concluded, slumping back down with her hair all over her face, howling pro-choice invective and the final ad-lib ‘You can be that girl or you can be my kind of girl…’ I can’t imagine it done better.
Best band around.
Camden, that boil on the neck of North London, was briefly brightened up last night by an Indelicates gig. They were the best I’ve seen them so far. Arrogant as fuck, opening with ‘The Last Significant Statement to be Made in Rock’n’Roll’ and in content and form embodying the line Anger is an energy.
The more I hear them live, the less satisfied I am with the demos and downloads I have. I like their clever-cleverness and their occasional prissiness of delivery – the concept behind a song like the girls-school madrigal version of ‘Our Daughters Will Never be Free’ makes it a practical requirement – but I can see why they attract criticism on grounds of being twee or self-satisfied or, apparently, too ‘drama-studenty’. (Sorry, she went to Goldsmiths; objectionable drama-student tendencies spread there with the virulence of memes or STDs).
But the demos lack the seeming desperation and spat-out contempt that drives the songs when live. On record, only ‘Fun is for the Feeble-Minded’ and maybe ‘Julia We Don’t Live in the Sixties’ come close to reflecting the urgency and vitriol of their onstage selves. ‘Sixteen’ is glorious live, skipping along giddy with laughing in the face of scenesterettes. ‘Heroin’ (which I was astonished to learn is not a Suede pisstake, but should be), is a perfectly sustained and poker-faced lament that pulls the carpet out from under the past decade’s eulogising of crap towns, pointless lives and pale thin girls with eyes forlorn. ‘We Hate the Kids’ is already one of our great lost singles, simplistic enough but delivered compulsively vicious with a beautifully executed swagger that renders it anthemic. Live, they mean it even more.
Lyrics like ‘Rebellion shores up the market / Rebellion keeps the nation healthy’ have been done, of course (’Turning rebellion into money’, ‘Rebellion it always sells at a profit’), but when they’re done it’s generally a sign of self-awareness rather than empty sloganeering. Being conscious of and informed by your own ultimate futility and counterproductiveness – the knowledge that your kicking against the whole corrupt edifice does nothing so much as tire you out and keep it standing – is preferable to trading on the idea that popular music currently has any great capacity for danger, subversion or originality, that the revolution is only a sponsored arena tour away. The scene has (once more) become sufficiently smug, bloated and prickable as to call into existence fierce quick creatures with sharp teeth. They are a necessary band. Best song titles since Doherty/Barat, too.
I’m quite aware that people dislike The Indelicates. Alright. It’s rare for me to find a band I’m happy to love. It’s rare that a band inspire me, and this band does. This band also make me want a badge that says ‘They don’t hate the kids as much as I do.’
Dylan at Brixton was unreal. In retrospect, since the show opened with a tribute to Link Wray, I’d like to think it ended with a tribute to Joe Strummer. There was a solemnity to things, at times, but not in a way that brought things down at all.
Okay, of course he’s appallingly old now and looks it, but he doesn’t look bad on it at all. And as the bores complained, he’s out of tune, but a) when has he ever been in tune?; b) define ‘tune’; c) ‘Lay Lady Lay’; and d) since when was that the point?. It’s not that his voice is shot, it’s just a different voice. He’s had so many and this is the latest. When some songs used to skid gloriously all over the place, with the exuberance of a toddler knee-sliding on polished parquet at a wedding reception, his delivery now keeps them grounded and anchored, a lilt as light as an empty rocking-chair. There’s something solemn and stately about the way he performs now.
There’s also glimpses of his former selves, like, as Susie said, a Magic Eye puzzle. His early earnest folk persona and his Messianic speed-freak Blonde On Blonde persona and his almost unbearable god-bothering Eighties persona, they’re all still there. It happens when he turns his head and takes the crowd in and there’s a collective intake of breath. There’s still that swagger and cockiness that avoids being arrogance and instead is just absolute self-assurance. Just him knowing he’s been right all along.
There had been a bit of talk about him tailoring the recent sets to express a newfound/rediscovered anti-imperialism. Sunday he played ‘Tales of Yankee Power’, and okay, we had ‘Maggie’s Farm’ and ‘The Times They Are A-Changing’ (!!!) and ‘It’s Alright, Ma’, and arguably ‘Honest With Me’, but who knows the logic behind it. He’s had more than a moment of being atrociously right-wing and I think he even voted for Bush Senior. It doesn’t matter. Songs like ‘Maggie’s Farm’ and ‘Masters of War’ have been taken out of his hands and into common ownership. They’ve enriched and strengthened twentieth-century protest the way that only good music can.
The set still contained a few songs I didn’t recognise, which is another reason I love him: there is always more to discover. There was less tiresome bluesy fretwank from the band this time, although there was still a bit. There was, fantastically, ‘Cold Irons Bound’ which sounded about ten years ahead of its time. ‘Visions of Johanna’, bloody hell. Again, there was that swaying between wanting to cry at how fantastic it was both as song and performance, and wanting (only slightly) to laugh at the fact that individual lines were getting their own applause. But then, when you write stuff of startling pinpoint accuracy like We sit here stranded though we’re all doing our best to deny it or Little boy lost, he takes himself so seriously or Inside the museums, infinity goes up on trial / Voices echo, this is what salvation must be like after a while (a line that I’m still not sure how to read), you deserve to be indulged.
‘Like a Rolling Stone’ was, yeah, stately and solemn, and somehow not missing the visceral, malicious quality of its early outings (the Manchester Free Trade Hall gig has the definitive version of it, after ‘JUDAS!’ and after his transcendentally sneering and defiant response of ‘I don’t believe you… you’re a liar… Play it fuckin’ loud!’ The version they play then is fucking scourging, the repetition of ‘How does it feel?! like a whip across the shoulders). But the time for that has passed. He knows he was right. There’s still him-against-the-world feel to things, but it’s not-quite-bitter, resignation rather than rage. He’s beyond and above it all: ‘Phoney Beatlemania has bitten the dust‘ might, for his younger self, have been slyly about his outlasting Lennon, but these days I wonder if he cares about competition or rivalry, or even recognises it.
Hanging around for the encore, I was expecting the same as the last two times (Like a Rolling Stone/Cat’s in the Well/All Along the Watchtower), but no. ‘Cat’s in the Well’ was cut (possibly there’d been enough apocalyptic visions for one set) and instead there was London fucking Calling. Forty years or so, bloody hell. He matters, the same way the Clash mattered, the Manics, the Libertines. In the way they embody their influences, they matter. Dylan is what music should be and what lyrics should be, how songs should change your life.