|
|
 |
| |
| Get up, stand up |
REVIEW - The Fugees
Carling Apollo by Roisin Gadelrab
Lauryn Hill |
DO front-row-seated ticket holders who choose to stand from the
very start of a gig have any consideration of the disastrous domino
effect of their actions?
As they wave their hands in the air like they just don’t care,
other more seasoned (read older and more tired) gig-goers are forced
to their feet despite paying good money for the privilege of watching
from the comfort of the venue’s upholstered folding seats.
This is the situation I found myself in at the historic Fugees reunion
on Thursday night, wearily preparing myself for an evening of good
music and standing against my will.
The Fugees – Lauryn Hill, Wyclef-Jean and Pras Michel –
evoked memories of times past as they hauled out the best tunes
from The Score, the odd new track – Take It Easy being the
stand-out new single – as well as a few surprise performances.
The show was dominated by Wyclef on all levels and he and Lauryn
bounced off each other as if there had never been an ounce of bad
blood between them.
But significantly absent was poor Pras, rarely on stage and practically
invisible and inaudible when deigning to grace us with his presence.
Even his one big solo spot, Ghetto Superstar, was rudely interrupted
by a staged ‘fight’ between himself and Wyclef.
Now several years on from her heyday and although still hitting
the right notes, Lauryn sounded slightly forced, her sexy, husky
tones sadly tinged with an air of exhaustion, hinting at the possibility
she won’t be going for much longer. But her rendition of Killing
Me Softly was still a hit with the fans.
Only Wyclef really looked in his element, giving an energetic, if
slightly insulting performance, interspersed with such educational
political gems as “Bush only cares about oil” and “I’d
have put the paparazzi in the slammer so they don’t chase Diana,”
– topical and a good rhyme to boot.
Although not strictly a Fugees track, Wyclef’s Stripper Song
was undoubtedly a highlight of the evening, as were the classic
Fu-Gee-La and Ready or Not, and by the end even I, having not danced
since 1999, was tapping my toes. Who needs seats anyway?
Catch rock’s rising Stars
PREVIEW - Red Star Rebels
Electrowerkz
SLEAZE rockers The Red Star Rebels swagger into town on Friday
night to play the Electrowerkz in Angel.
The five-piece from Bedford are taking a break from touring with
the Brides of Destruction, the new project of ex-Guns ‘n’
Roses and Mötley Crüe men Tracii Guns and Nikki Sixx.
The Rebels’ brand of hooky heavy rock has made them a hot tip
on the live circuit in recent months.
It’s all posturing, posing and poisonous guitar riffs as they
tear through tracks including The Fast Die Young and Pretty, Keep
Her and Too Young to Care. The anthem Breakout was a surprise hit
when they played a series of prison gigs earlier this year. www.myspace.com/redstarrebels
• Red Star Rebels play the Electrowerkz, Torrens Street, EC1,
at 8pm on Friday December 23. £8. Angel Tube. 020 7837
6419.
No Guillemots, no party
REVIEW - The Guillemots
Borderline By Jane Wild
IF you haven’t yet heard of The Guillemots, judging by last
week’s performance you soon will. The band’s fortunes
have risen at dizzying rates this year.
Their first release sold out in days, igniting a major label scramble
to sign them.
The sold out gig was crammed full of eager new fans along with a
huddle of music industry types at the bar. There were plenty of
gems in the set to relish, despite some moments that weren’t
as outstanding.
Charismatic frontman Fyfe Dangerfield Hutchins is a natural performer,
losing himself in the tunes. During Blue the rest of the band left
the stage and Hutchins sang solo without a microphone, accompanying
himself on a tiny handheld keyboard. The hushed audience were transfixed.
Other highlights were the swirling harmonies of Made Up Love Song,
and Trains To Brazil, which is currently earning them airplay.
The Guillemots’ celebrated their last concert of the year with
a one-off after show party, mingling with gig-goers before leaping
back onto the stage.
In an electrifying, sweat-dripping, improvised session they jammed
non-stop until almost 2am. Stepping away from their earlier, more
commercial sound they delved into a realm of 1960s psychedelia.
Playing themselves into a frenzy, instruments were swapped around,
with the guitarist MC Lord Magrao singing, Fyfe played drums and
saxophonist Chris played his instrument’s mouthpiece.
This was real music, played with a captivating energy.
Chris makes most of his return home
REVIEW - Coldplay
Earl's Court By Dean Turner
COLDPLAY’S mass appeal was visible at Earl’s Court
with all ages enjoying an energetic and emotive set.
The crowd were nicely warmed-up by 45 minutes of Richard Ashcroft,
who mixed new work like Sweet Brother Malcolm and his latest release,
Break the Night With Colour, with Verve hits ending with his own
warning that “where there’s a hit, there’s a writ”,
before launching into a blues version of Bitter Sweet Symphony with
electric guitars replacing the controversial strings.
Coldplay announced their arrival back to the UK with rousing renditions
of highlights from all three albums.
Square One led into a thumping version of Politik and onto Yellow
with giant yellow balloons dropping onto the audience.
Chris Martin displayed the dexterity of Jools Holland of the piano
keys during a high tempo finish to The Scientist, to crank the show
up a level.
A dedication to Johnny Cash and a reverent version of Ring of Fire
proved that they don’t just turn up and play, while Chris showed
his spontaneity by performing lyrics from Ticket to Hell by The
Darkness.
Extra screens would have helped those of us at the back. The stage
was set for a euphoric finish of Fix You, complete with the trademark
releasing of a ball of light above his head.
They repeatedly said it was nice to be home during the set and from
where I was, it sounded great.
CLICK HERE FOR LISTINGS |
| |
|
|
