I’M repeating the words ‘absolute triumph’ as I leave the venue and that’s still rattling around my head the following morning – this show by the reunited Suede was very special indeed.
Of all the Brit rock institutions who’ve reconvened over the past few years, you could argue that it’s this classy Brett Anderson-led five-piece who’ve done it with the most integrity. They’ve succeeded where The Stone Roses, Blur, Pulp and Happy Mondays have come up a little short – it’s a radical concept called ‘releasing a new studio album’.
Bloodsports – which appeared in March – is a defiant new chapter in the band’s history and they’re clearly proud of it, confidently slotting in more than half of it here without any dip in the quality threshold.
They began though with the stately Pantomime Horse and Anderson’s soon on his knees wringing out every drop of emotion from the song. Then it’s straight onto a trio of newbies, the call to arms of Barriers, a rocking Snowblind and an outstanding It Starts and Ends with You which really is as good as anything they’ve put their name to.
By Filmstar, Anderson’s up on the monitors swinging his microphone around like a camp Roger Daltrey and having a ball. Trash prompts a mass singalong while Animal Nitrate and Heroine test the foundations underneath the Academy.
The first break comes nine songs in with the elegiac Sometimes I Feel I’ll Float Away and the brooding Sabotage.
We’re soon back to the more urgent likes of The Drowners and the glam rock riffage of b-side Killing of a Flashboy though. Breathy ballad The 2 of Us gets a rare airing and they follow it with an exhilarating So Young.
Anderson was quite frankly astonishing throughout. Gone are the cut-price Morrisseyisms and arrogance of the early days replaced with a hugely committed performance that completely engaged the audience. He does most of the heavy lifting with the band content to take a back seat. Guitarist Richard Oakes has a few scene-stealing moments but never attempts to share the limelight in the same way that the band’s original axe hero Bernard Butler did.
They’ve still got two of their biggest tunes up their sleeves, too. Oakes finally lets his inner rock monster off the leash for Metal Mickey and Beautiful Ones is quite sublime.
There’s just one song in the encore – New Generation. After all, the job was already done so why labour the point?
Forget about dewy-eyed nostalgia, Suede are very much in the moment. A barnstorming return.
I’VE always been consistent on at least one point - if I’m a fan of the original inspirations behind a band then it follows that I’ll like the amalgam. That holds true for the first time I heard Definitely Maybe back in 1994 containing audacious nods to The Beatles, Sex Pistols and T Rex and it remains with Jonathan Wilson and his clear appropriation of Pink Floyd, Neil Young, Dylan and Dennis Wilson.
Many won’t be able to get past his fanboy tendencies and that’s absolutely fine, I can see their point. But now that the golden era of Laurel Canyon acts are now in their dotage and only occasionally produce anodyne AOR stodge at best, then why not turn to the new breed who can at least conjure up a facsimile of their best work?
Wilson’s now a prime mover and shaker in the LA music scene; something of a linkman between the past and present with his collaborations that have featured new kids on the block like Dawes and the old guard of Jackson Browne, Graham Nash, David Crosby and various members of Tom Petty’s Heartbreakers plus the occasional Black Crowe.
His Gentle Spirit debut of 2011 was outstanding despite being hamstrung by the kind of new age hippy dippy album cover that’s ten a penny on Glastonbury High Street. Hpwever, what was contained inside was high grade retro songsmithery and he’s continued it here with its follow-up Fanfare, a much more polished, lush affair.
The langourous string-laden opening title track certainly nods once more at Dennis Wilson’s high watermark on Pacific Ocean Blue until it breaks free with a skronking sax solo that rocks you back on your heels.
The pretty waltz intro of Dear Friend makes way for a blatant pinch from Dark Side of the Moon’s Breathe that’ll certainly give Floyd fans a chuckle in its sheer brazenness. I’m also liking the meandering wah wah solo that kicks it at the three-and-a-half minute mark and takes a full three minutes to resolve itself before moving onto a dramatic transitional section that’ll get you punching the air.
Her Hair is Growing Long opens as a beatific slice of folk whimsy before travelling over the border to South America to take on an almost Samba feel.
The country rock of Love to Love is a smart change of pace and wouldn’t be out of place on Ryan Adams’ Gold album or a previous Whiskeytown record. It’s even got a gratuitous Dylan impersonation on it. Thanks Jonathan.
The ghost of Dennis Wilson shuffles into sight for Future Vision once again before it switches mid-song into a perky keyboard tune complete with nifty studio trickery on some backing vocal swoops and a cracking solo.
We pause for breath on the slide guitar-flecked acoustic track Moses Pain. It’s a little anonymous although the anthemic coda is a nice touch.
Cecil Taylor features a stellar cast on backing vocals including the aforementioned trio of Graham Nash, David Crosby, Jackson Browne plus Father John Misty aka former Fleet Fox J Tillman. Crosby even weighs in with a trademark wordless vocal solo beamed in from his If I Could Only Remember My Name album. Fantastic.
This album’s Neil Young and Crazy Horse tribute comes courtesy of the loping Illumination. I can imagine it being a monster when played live. We’ll see later this year. Desert Trip is pretty piece of folky positive thinking but it’s soon overshadowed by the jazzy soulfulness of Fazon and its gorgeously fat bassline straight out of an early Seventies Marvin Gaye album.
There’s a decidedly Pink Floydish edge once again to the epic ballad Lovestrong, but it’s none the worse for that obviously. I’ll take David Gilmour impersonations all day long. The second half feels like an alternative version of Echoes from 1971’s Meddle.
It’s paired with the downbeat closer All The Way Down, which perhaps is a little too introspective and plodding for its own good.
That’s a small criticism, though, of what is at times an outstanding record. Wilson’s ‘Leader of the Laurel Canyon MkII’ tag is firmly consolidated on Fanfare. Yes, he wears his influences a little too obviously on his sleeve at times but at least he has impeccable taste.
“My parents told me to get a job,” says David Crosby. “My job in this band is to write the weird shit.”
OK, so that’s pretty much the gag that Croz told with old mucker Graham Nash when he last played the Colston Hall two years ago, but when you check out veteran rockers with more than a few miles on the clock, you have to expect a little pre-planned banter.
And if your calling card is a silky smooth three-part vocal harmony blend, it’s also not a given that you can still cut it more than 40 years on. Add to that the fact that Crosby, Stills & Nash have endured countless trials and tribulations in those ensuing decades and you realise that this was by no means the cosy classic rock proposition it might appear at first glance.
The trio do seem like a perfect combination of styles, not just in their vocal blend but in their songwriting. Stephen Stills provides the bluesy Southern rock grit, Nash crafts poppy gems and Crosby, when he can be arsed, is particularly good at the jazzy, expansive “weird shit”.
It’s Stills who faced the biggest challenge here. Various health issues have meant his vocals can now be wayward to say the least. Bizarrely, his falsetto was fine, it’s his mid-range which seemed more unpredictable. His guitar playing, on the other hand, made up for it with several scene-stealing turns.
Despite hoovering up the Gross National Product of Colombia in his darkest days, Crosby’s voice remains a thing of wonder. Nash, too, is in very fine fettle for someone who reminded us that he’s been playing the Colston Hall since his first outings with The Hollies back in 1962.
From 1968 to 1971, pretty much everything CSN touched turned to gold and it’s no surprise to discover vast swathes of this nigh-on three-hour set were mined from this rich seam of material.
They took turns to share the spotlight for an even-handed trio of openers. Stills kicked off with the intricate Carry On/Questions complete with inventive soloing.
They’re still not quite in top gear, though, and Marrakesh Express was a little sluggish as it made its way out of the station. Crosby – officially the most casual man in rock who only takes his hands out of his pockets when he has to play guitar – at least comes in with all guns blazing on a fiery Long Time Gone.
The vocal shortcomings of Stills were once again exposed on Southern Cross but the anthemic chorus got the band across the line.
They also managed to slip in a handful of new songs including Crosby’s Radio – a co-write with his son and keyboard player here James Raymond; Don’t Want Lies from Stills’s recent side project with his blues band The Rides and Nash’s Golden Days. Best of the bunch was the latter’s Burning For The Buddha, a politicised protest song about Tibetan monks.
Nash’s Cathedral – the highlight of a stodgy CSN album from 1977 which had seen them blasted out of the water by punk’s new breed – boasted a suitably hymnal organ intro before Stills returned “to his childhood” for Buffalo Springfield’s Bluebird. To these ears, it seemed a little disjointed as Stills hung on for dear life and threw down some improvised solos. The audience thought differently, though, with many giving him the first standing ovation of the night. That said, I’d put it down more to Springfield-related bon homie than the performance on the night.
Crosby’s Déjà Vu, now a centrepiece of the band’s set, afforded everyone including the five-piece backing band a slice of solo action in the spotlight. It’s also a rather hilarious demonstration of the democratic worthiness of the band as each applauded each other’s contribution like a Kenneth Branagh-style Luvviefest. Crosby, in particular, seems to like pointing a lot.
What a shame that both Love The One You’re With and Helplessly Hoping rather suffered from Stills’s waywardness. At least he did manage to haul it back with Treetop Flyer which proved to be an unexpected highlight.
It’s followed by a stunning one-two punch from Crosby and Nash – the a capella What Are Their Names and a breathtaking Guinnevere where you could hear a pin drop. Those were worth the price of admission alone (well, perhaps not, it was an eye-watering £75 a ticket).
Crosby’s saucy Byrds-era ode to love triangles, Triad, underwent a major funk overhaul – and was by no means as bad as that sounds – before Nash brought a collective tear to our eyes with the well-crafted Our House and Teach Your Children.
Almost Cut My Hair and Wooden Ships upped the ante and were positively scorching. Stills was outstanding on the latter.
The one-song encore knocked it out of the park. Suite: Judy Blue Eyes, complete with a nimble fingerpicked snatch of George Harrison’s Within You Without You from Sgt Pepper by Stills on acoustic guitar, was extraordinary.
There are a few rough edges nowadays to CSN for sure, but we’ll forgive them with a collective songbook packed to the gills of such grace and power.
Over the past 50 years, Steve Winwood has pretty much done it all. He’s served up blue-eyed soul and r’n’b as a teen prodigy with The Spencer Davis Group, produced a diverse mix of psychedelia, folk and jazz rock with Traffic, comfortably held his own with Eric Clapton in Blind Faith, jammed with Hendrix then reinvented himself as an Armani-suited synth pop veteran in the 80s.
As a stage performer, he’s a lesson in understatement. No rock star shapes were thrown here - this was all about the musicianship and some outstanding virtuosity from a talented additional four-piece band. A brief nod at the mic to the last 45 years he’s spent in the Cotswolds sufficed for what almost amounted to a hometown gig. With a voice like Winwood’s, though, he doesn’t have to worry about banter. His vocals sounded as vibrant as they did as a 15-year-old and his swooping vamps on Hammond organ packed a real punch.
Whatever Winwood era you gravitate towards, there was something for you here. This was a setlist that glided between the trademark ‘getting it together in the country’ hippy Traffic vibe of opener Rainmaker and funky mod r’n’b of I’m A Man to the languid Blind Faith classics Can’t Find My Way Home and Had To Cry Today.
The first Blind Faith track here saw Winwood swap to lead guitar for some fine bluesy soloing. He’s an under-rated guitarist and once again steers well clear of the usual axe hero histrionics.
If you wanted a snappy skim through the hits at breakneck speed then you were in for a rude awakening. Few clocked in at less than 10 minutes during a two-hour show which only included 14 songs.
Never afraid to stretch out, mid-era Traffic gem The Low Spark of High-Heeled Boys provided a centrepiece and boasted an impressive Carlos Santana-like solo from Brazilian guitarist Jose Neto. Hats off, too, for the inclusion of Empty Pages – another Traffic beauty.
The dire 80s production was ditched from his comeback hits Back in the High Life and Higher Love, the former finding Winwood on electric mandolin and reinventing the song into something resembling early Rod Stewart.
Sealing the muso deal was Light Up Or Leave Me Alone which featured extended solos from every band member. Sax player Paul Booth, who also provided flute and depped for Winwood on organ, blew his heart out here. Although solo sections are a remnant of the old school that we could probably now live without, Winwood’s backing band were a class act and worthy of such indulgence.
A closing trio of belters brought things back into sharper focus - the funky Keep On Running, the classic rock of Dear Mr Fantasy and mod swagger of Gimme Some Lovin.
From a very rare breed of genuine legends who eschew the usual clichés, Winwood’s all about the music. When you’ve got great tunes performed by superior players, you don’t need any other rock’n’roll bells and whistles.
Now I can’t pretend to know what cutting edge electronica and dubstep sounds like nowadays, I’ll leave that to the hipsters with a few less years on the clock.
But it seemed to me that the arrival of James Blake’s debut album a couple of years back signalled the emergence of an artist with a very singular and unique musical vision.
His hushed, multi-layered vocals conjured up the intimacy of the first Bon Iver record along with the theatricality of Antony Hegarty. There was a bravery about the minimalism of those beats and arrangements.
Blake’s star has been in the ascendant ever since and he’s gone on to collaborate with Bon Iver’s Justin Vernon and been given the seal of approval by his heroine, Joni Mitchell.
So there’s a good deal riding on this follow-up. Blake takes the expectations in his stride, refining and distilling the best elements of that debut and polishing up his songwriting craft. The headline news, of course, is the contributions from Brian Eno on Digital Lion and the Wu-Tang Clan’s RZA on the standout Take A Fall On Me. This is still very much a James Blake record though with his quivering vocals taking centrestage pretty much throughout.
Joni Mitchell was an influence on the opening title track apparently, an introspective analysis on the pros and cons of fame: “I don’t want to be a star, but a stone on the shore.” It builds to a beautifully swelling middle section. A classic Blake trick of restraint and release that he’s already proved to be the master of.
He’s in full-on tremulous Antony Hegarty mode for I Am Sold, which revisits the debut album’s motif of repeating snatched phrases before piling on the echo and distortion effects. It’s a muted opening pair, but lays out Blake’s introspective stall without compromise.
The pace picks up for Life Round Here, an ode to Blake’s girlfriend, the LA-based Warpaint guitarist Theresa Wayman. Laying bare the neuroses behind trying to keep up a long-distance relationship. Yet again, another repeated motif dominates: “part-time love is the life we live, we’re never done; everything feels like touchdown on a rainy day.”
RZA’s arrival on Take A Fall On Me provides a nice counterpoint, particularly his quirky Anglo-centric lyrics
"I wouldn’t trade her smile for a million quid" and "fish and chips and vinegar/With a glass on cold stout or something similar."
Accept for the refrain: “I need you like I need satisfaction,” it’s a pretty oblique contribution. Another skewed love song to add to the Blake canon then.
You may have already heard the single Retrograde - it made number 10 in Denmark, after all. It’s one of his strongest melodies and part of the middle section of the album that tiptoes up to the edge of the dancefloor. The Eno hook-up on the pulsing almost wholly instrumental Digital Lion features a cut and paste repetition of the title emerging then disappearing into the mix as well as a klaxon. Hands-in-the-air techno, it most certainly is not though. You’d be hard pressed to detect the fingerprints of Eno here though, although it’s unfair to merely expect his trademarks soundscapes on everything he touches. He’s far more than a one-trick pony.
The delicate skeletal piano-led ballad Dim is another low-key delight that doesn’t try too hard.
The slinky house rhythms of Voyeur up the ante once again although by this time you may tire a little of Blake’s constant use of repetitive central vocal lines wandering in and out of the mix. If there’s a flaw here then it’s this dogged determination to pull off the same stylistic trick again and again.
There’s more melancholia and introspection on the Our Love Comes Back which once again melds piano with electronica.
The Big Boi-sampling bonus track Every Day I Ran is a welcome injection of energy on another steadfastly downbeat collection from Blake.
He claims that there is more light and shade this time around, but if that’s so then the more upbeat moments come from outside sources. This may be as divisive as the first album, but it won’t come as such a shock.