There was definitely an electric tingle in the air before the show; tonight marking the midway point of Guy Garvey's wonderfully curated Meltdown Festival. The rumour mill abuzz with tales of who might be playing along too
Before Connan had even played a note, there were audible yelps, screams and shouts welcoming him. Mockasin was distinctly dressed in a pink beret, and green boots. Opening with the cool as hell Caramel flavoured "Do I Make You Feel Shy?" and the surreal "It's Choade my Dear", the night was alive.
The lead singer gave the audience the nod to dance. Whilst the band (comprising drummer, bassist, guitarist, bongo player) tinkered around on the wonderfully tousled number Faking Jazz Together, a huddle of people began surrounding the centre front of the stage. The huddle became a large melee and movement of bodies, arms and legs, extending across and down the aisles.
The rhythm and tempo is efficacious - allowing the listener to focus on the tinkering charms of Connan - while one almost forgets the various time signatures that are ever present in the background.
Two additional treats were in store to help keep that time signature in check. Dave Okumo of The Invisible firstly was introduced on guitar - and the show took on a funkier twist. Following this was special guest ingredient James Blake; who out of nowhere appeared on the keyboards front right of the action to add extra flavour.
One must say that one cannot cover all what went on this special night. So much happened before the audiences' eyes. The evening certainly went into overdrive once all guests were part of the performance.
A gentle chaos took over proceedings. The version of Forever Dolpin Love was charged with excitement from the close quarters of the spectators. Connan started pacing up and down, guitar in hands, acting as a metronome for the rest of the band. Not surprisingly the track gradually built to such a crescendo and wall of noise, what could possibly top it? A stage invasion? Well, quite!
As guitarist Rory McCarthy (shirtless but with braces) was just starting up Megumi the Milkyway: "Ooh ooh ooh, ooh ooh ee ooh!" a slow surge of people started to climb onto the performing area. Rory took a step back literally; the jam was ongoing while the sea of bodies swelled around them. The intruders danced and swayed until they were politely disinvited and told to leave the stage. Megumi was eventually completed once all were non-stage; and the band left to rapturous unhinged applause.
Thursday 9 June 2016
Madness. 100 Club. Wednesday 8th June 2016.
Until Wednesday evening, Madness had never played the 100 Club, on Oxford Street. A band interwoven with London culture set foot inside the iconic club on a muggy June evening. This was part of a selection of intimate gigs all on the same night for the charity Nordoff Robbins. (Other shows included Squeeze playing Oslo in Hackney and Alison Moyet performing to a tiny room at the Roundhouse).
The band meandered their way from the adjacent backstage door next to the bar through the crowd to the stage; a throwback of sorts to their 1979 Top of the Pops performance of One Step Beyond. Downstairs and away from the hustle and bustle of Oxford Street, the club is an anachronism, steeped in rock history. You forget what year it is when you descend the staircase. This is a hot, dark room with a capacity of 350 people and an infamous* giant pillar in the middle; possibly holding everything together. This year marks forty years since Johnny Rotten and Siouxsie Sioux played their memorable shows over two nights here; by many defined as the beginning of punk.
(*Viv Albertine's excellent memoir narrates the tale of Sid Vicious lobbing a pint glass at the pillar, only for the glass to rebound, shatter and blind a girl in one eye. Vicious was subsequently arrested in the aftermath. Viv tells it better than I do. I highly recommend her book).
The set is a sing-along of a sing-alongs. With numbers like Shut Up, NW5 and The Bed and Breakfast Man, everyone in the room knows the words and gleefully cries them back from where they came. Lead singer Suggs, wearing a suit with a stripy t-shirt and sunglasses; is the ringmaster. Chrissy Boy and Lee Thompson provide the entertainment value; at one point Thompson pours champagne into flutes for the revellers at the front. Bedders on bass, Woody on drums and Barso on keyboards the driving forces on rhythm and tempo.
There is a Pearly Queen in attendance, along with rock royalty too. Chrissy Boy's former girlfriend Jane of the Mo-Dette's was called up on stage to sing a storming version of Madness later on the set, a real highlight of the evening.
Comprising songs old and new, the band perform a rare outing of Girl (Why Don't You), a cover taken from their Dangermen era. The finale is joyful, and the audience are in raptures. Wings of a Dove, the aforementioned Madness and Night Boat to Cairo ensure that those watching on never have two feet on the floor at the same time. This is a humdinger of a gig, in a pocket sized perspiring historic box of a venue. Madness playing the unique 100 Club for the very first time, this felt a real privilege to be there.
The band meandered their way from the adjacent backstage door next to the bar through the crowd to the stage; a throwback of sorts to their 1979 Top of the Pops performance of One Step Beyond. Downstairs and away from the hustle and bustle of Oxford Street, the club is an anachronism, steeped in rock history. You forget what year it is when you descend the staircase. This is a hot, dark room with a capacity of 350 people and an infamous* giant pillar in the middle; possibly holding everything together. This year marks forty years since Johnny Rotten and Siouxsie Sioux played their memorable shows over two nights here; by many defined as the beginning of punk.
(*Viv Albertine's excellent memoir narrates the tale of Sid Vicious lobbing a pint glass at the pillar, only for the glass to rebound, shatter and blind a girl in one eye. Vicious was subsequently arrested in the aftermath. Viv tells it better than I do. I highly recommend her book).
The set is a sing-along of a sing-alongs. With numbers like Shut Up, NW5 and The Bed and Breakfast Man, everyone in the room knows the words and gleefully cries them back from where they came. Lead singer Suggs, wearing a suit with a stripy t-shirt and sunglasses; is the ringmaster. Chrissy Boy and Lee Thompson provide the entertainment value; at one point Thompson pours champagne into flutes for the revellers at the front. Bedders on bass, Woody on drums and Barso on keyboards the driving forces on rhythm and tempo.
There is a Pearly Queen in attendance, along with rock royalty too. Chrissy Boy's former girlfriend Jane of the Mo-Dette's was called up on stage to sing a storming version of Madness later on the set, a real highlight of the evening.
Comprising songs old and new, the band perform a rare outing of Girl (Why Don't You), a cover taken from their Dangermen era. The finale is joyful, and the audience are in raptures. Wings of a Dove, the aforementioned Madness and Night Boat to Cairo ensure that those watching on never have two feet on the floor at the same time. This is a humdinger of a gig, in a pocket sized perspiring historic box of a venue. Madness playing the unique 100 Club for the very first time, this felt a real privilege to be there.
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About Me
- Rich
- I often think of odd things, then realise I need to write them down. I also never try to make a single person frown.