An Exercise in Irrelevance

I finished Exit Music this morning. I’ve been reading Ian Rankin’s novels for nearly a decade now starting, perhaps ironically, just after leaving Edinburgh for London. I still think Black and Blue is the best, although Tooth and Nail is my favourite. I heard Ian Rankin say once that as he’d just moved to London and was feeling miserable, he’s inflict the same onto Rebus. As I was hating London also, I emphasised greatly with the book. Also, it’s got a keystone cops, comedy car chase at the end. Both author and detective moved back to Edinburgh fairly shortly afterwards. I never did, although I did leave London.

The last book is good and a suitable ending. Like many of his more recent books, there is a random, unresolved element to the plot. But it’s exciting, page-turning and a suitable finish for the series.

Having said that, it’s probably a good thing that it’s coming to an end. The books got lots of moody, black and white shots of Ian Rankin, with readers notes and meaningful questions about the use of metaphor for reading groups. Doesn’t detract from the novel, but is, really, deeply pretentious.

Originally published on my old blog site.

Been looking forward to Jolie Holland for a while; I think her records are superb, from the Be Good Tanyas onward. Her strange, wierd vocals seem to work; Mexican Blue is stunning song, which leaves me lost everytime I hear it.

I guess this is a lot to live up to. Last nights gig missed by a mile. The support, who’s name I forgot, was poor; nice voice, but the songs were crap, and the performance shambolic. This was replicated by the main act; she treated the audience like they were the wall-paper at her own private practice session. The band spent lots of time talking to each other; they had to tell poor jokes while she tuned up, which took ages. And she needed it; the first three songs were played with an out-of-tune guitar, that was mixed up loud enough that you couldn’t hear her voice anyway.

God knows, I’m not a performance fascist; I like things relaxed, I don’t mind raw and I’m not a technical freak. But a live performance is just that — a performance; if you can’t be bothered, then you shouldn’t be there.

Originally published on my old blog site.

John Martyn has been around for donkey’s years. Sometime, in the 80′s he decided that enunciation was for wimps, and he started to sing like a wookie. More recently, he’s lost a leg, put on enough weight that resembles Jabba the Hutt (two star wars, references in one review; hmmm). He must be passed it now.

John Martyn started off as a folkie, more or less invented trip hop along the way; his music is mesmeric and beguiling. In his prime, he could take the stage on his own, with his Les Paul and fill the entire room, entrancing the audience. I think he was the second musician (not including the pub blues bands that were the stable of my youth) that I ever saw live. I’ve seen him from the North to the South of the country; Solid Air graces my mp3 player at great regularity; in many ways, he has been a critical part of the music that has changed me from the time we got our first record player, to the washed out, muso, gig junkie that I am now. He is passed his best now, but he’s made up for his own lack of mobility with a band, to fill the sound that he used to. This tour is the Grace and Danger tour; the music was sad and heart-breaking at points. Solid Air itself has been lent new immediacy, for me, with the loss of a good friend to suicide earlier in the year.

This was one of the most moving gigs that I’ve been too for years; I was left silent till the day after (unusual for me). One of the best gigs of the year.

Originally published on my old blog site.

It’s all gone a bit mad since October. I’ve been to so many gigs that, combined with the start of term, I haven’t really had time to write them all up.

Stephen Stills was my first gig at the City Hall; cool venue inside, dramatic, good looking, comfy seats. The sound is pretty poor though. I was sitting a way back, but on the balcony and right at the front of it so the view was excellent. Being at the gig made me feel young; it’s rare that I am in the lower quartile of the age range these days. There was an element of homage about the whole thing; there were two old hippies in the front row who clearly got stoned to CSN (or maybe Buffalo Springfield) when they were young and were going to cheer regardless. But, it was a good gig. His voice is a bit wavery with age — he murdered "Change Partners" — but his guitar playing was generally wonderful; I think I preferred the acoustic half to the electric, but both were strong. It was all a bit dad rock, but it was still good.

Erik Mongrain I’ve not seen or heard before, but he’s made a splash on YouTube. This was in the same series as the Bob Brozman gig that I went to earlier in the year; their advertising is still chaotic. It was 10 quid to get in, but half price because I am on the mailing list (which I don’t think I am, all although I tried to be). The venue was in North Shields. The box office phone was redirected to a random office somewhere, and never answered.

Gig was great through. Erik’s clearly a technical genius, playing intricate, complex music uses both hands interchangably to make music — he strums with his left hand, fingers with his right. All very guitar hero stuff. He’s also quite shy, and retiring. He often described what his songs were about, but the descriptions were usually incomprehensible; regardless, there was a wonderful meditative feel to the evening. You could listen and relax and let the music wash over you.

I hope the series continues, because they’ve got some great players. But, if they advertise so badly and carry on making it hard to get tickets, it’s not going to. Enjoy it while it lasts.

Originally published on my old blog site.

It’s been over 10 years since I last saw Bob Brozman; in this time, he’s lost none of his prowess, and learnt a fair few new tunes. I think he’s got more rhythmic as well.

He’s a difficult musician in many ways; he changes rhythm a lot, his sense of humour is continual and a little strange; his musical tastes are getting to define the word eclectic. But, he’s also engaging, entertaining and exciting to watch. It was a superb gig; I would be a fool if I left it 10 years again.

It was a strange gig also; I was faced with a difficult choice: Bob Brozman, a house party or a combined barbeque and eurovision night. In the end, I know that I made the right choice. What was interesting though, is that this is the first gig that I have been to for ages on my own; since I have moved up north to Newcastle, I’ve had the fortune to meet quite a few people with similar music tastes. Actually, I really enjoyed being solitary; that I was exhausted added to it; I almost slept in the interval; I became totally engrossed in the music, and lost a sense of self.

I’d not been to the Buddle arts centre in Wallsend before; but they have some stonking gigs coming up. I shall be there for more I think.

Originally published on my old blog site.

Last week, I saw Toumani Diabate at the Royal Northern College of Music. My experience of the Kora is a busker who plays in Manchester at times; he’s pretty good actually. In concert, though it becomes a different instrument. The music is actually fairly repetitive, but the pieces generally play in cycles, flowing rather than jumping following one theme, then moving to another a note at time. As a result, it’s hypnotic rather than exciting and lulls the audience. He only played four numbers (before the encore); I think that like many people, I was surprised to find that this had taken well clear of an hour.

The one negative part of the night was the accompanying blurb; this suggested that the audience should stiffle any sneezes or coughs and not open sweets during the performance to maximise everyones enjoyment. I mean what a load of po-faced nosense; like the SAGE, it’s obvious that the RNCM is a snobbish, uptight venue but this is really taking it too far. Music is to be enjoyed, engaged in, not worshipped with great reverence. When I rule the world, I will find the idiot responsible for this statement, and string them up publicly, in front of an audience, to whom I shall allocated bubble gum, packets of crisp and low velocity, high volumn sneezing powder air rifles.

Rachael Unthank and the Winterset at The Round was the an entirely different experience. A small intimate venue anyway, they were playing on home turf; their mum (the two main singers are sisters) was in the audience. The venue is odd — basically someone’s put a roof on the gap between two buildings. The sound proofing isn’t too great; you could hear music and people walking upstairs, but this makes it more personal and engrossing. The music was wonderful; like much folk, and Toumani Diabete it’s often hypnotic. Their arrangements are remarkable, often highly melodramatic, and very innovative especially when compared to more traditional folk. I think, we were lucky to get tickets; I’m not sure that they will be playing a venue that small in future or will sell out quicker than they did.

Wish she hadn’t done the gag about Hexhamshire though; it was about a misheard lyric; I won’t repeat it. I’ve had the song (Fareweel Regality) running through my head for the last week; now it will be associated with an alternative version instead.

Originally published on my old blog site.