Lorde, Shepherd’s Bush Empire
It would be an exaggeration to say that one song brought me here, but not by much. That pop masterwork and critique of consumer rapping, “Royals”, is actually joined on the album by other good songs, and they all translate to the stage in a club/dance music fashion, with sub-sonic bass, crashing beats and synth string pads. The lighting is simple but effective and she’s not afraid to be minimal – some songs have very little safety net going on musically behind her. As Kitty Empire said in The Observer, “tonight’s gig sometimes has the atmosphere of a rave in an art gallery”. And even though at times it feels like a PA rather than a proper concert, with the banked backing vocals all flown in by the keyboardist, it’s seventy minutes of really enjoyable noise. Yes, I’m too old to be here among the mid-twenty-something couples that surround me, but what the hell. I actually like gigs where I don’t have a slavish devotion to the music – when I saw Mos Def at the same venue I only really knew the brilliant “Quiet Dog” from the album he was promoting, but it was a terrific show.
I was taken aback by how much the audience loved Lorde, howling like religious devotees every time she did her trademark hair toss, and screaming at the end of every song. She couldn’t stop saying how much playing the Empire meant to her (it’s certainly a change from playing to 50,000 people in Lisbon a few days earlier) and seemed genuinely delighted by the response. A nice cover of The Replacements’ “Swingin’ Party” quietens down the mood for a short spell but it soon vibes up again and by the time of “Team”, she’s added a gold cape and cannons fire paper squares (see above) in the air. Then she’s gone, no encore, with the crowd suddenly stilled, all hint of messianic fervor gone as they swarm out of the doors and on to the Green.
From a site Bob G recommends, two lovely 1977 photos
David Byrne, journalist Lisa Robinson, and Ramones manager Danny Fields in Paris, during the Talking Heads/Ramones European tour, 1977 and Iggy Pop photographed by Esther Friedman, The Idiot/Lust For Life era, West Berlin 1977.
Best Dancing Seen This Week
Sam Herring, Future Islands, “Seasons”, Letterman show. I’m essentially resistant to Future Islands brand of synth pop (I always listen to anything that Laura Barton mentions, but they left me cold). This, however, is kinda great. Patently sincere, equal parts Kevin Eldon, Joaquin Phoenix, and Anthony Hopkins’ Lecter, it elicited this excellent comment on YouTube: “Oh noes! he needs to stop!”
Very funny French Canadian film with a great central performance from Patrick Huard as David, father (by sperm donation) to 200 kids (remade as Delivery Man with Vince Vaughn for the US, apparently unsuccessfully). Recommended.
“David! What are you doing here? I spoke to the psychologist. He said he met you and you’re perfectly normal.”
“I told you so…”
“You’re not normal! I’ve known you 20 years. You’re not normal. How much did you lose in that scheme to import Cuban cigars?”
“The guy seemed like a legit businessman…”
“He walked around in a swimsuit! Who does business with a guy in a swimsuit? Make sure you mention you once paid $500 for one of Hall and Oates’ guitar picks.”
“When they die, it’ll be worth a fortune…”
“That won’t be for another 30 years! Besides, it’s Hall and Oates! They’d do a gig at a kids’ party for $500!”
Imelda May, Later
Catching up with a particularly drab edition of Later (Sharon Van Etten, Wild Beasts and Damien Jurado all vying for title of Dullest Four Minutes Of Music TV, 2014), headlined by Arcade Fire (David Byrne, get your lawyers! Sue Them!) the stand out for me was Imelda May, whose band of wonderfully-faced men created a lovingly noir-lit rockabilly blues to back her on “Gypsy In Me”. Darrell Higham’s guitar introduction was a thing of wonder, from the haunted feedback-and-whammy-bar start to the steely, rust-drenched trilling that set the stage for Imelda to strut upon. So often, this retro stuff just falls flat on its face, but she delivered a ramrod-straight performance that kept the tension up.