Suede's
latest album 'A New Morning' was released last month to rampant
critical indifference. Tonight lead singer Brett Anderson seems
to have taken the sentiments expressed on the first single from
the new album, 'Positivity', as a guide on how to combat accusations
that the band are slipping lazily into a middle-aged creative
cul-de-sac. After a strangely low-key opening song, old b-side
'Europe Is Our Playground', they burst into 'Positivity' with
a relish bordering on desperation.
Criticising a band for their appearance is heading in a disturbing
Pop Idol direction, but the way guitarist Richard Oakes has
expanded into James Dean Bradfield proportions deserves at least
a passing mention. Even more startling is that Anderson's desire
to replicate Bowie has now developed into parody. His jeans
were so tight that even someone of his waif-like stature would
need to be cut free of them. This coupled with his rabid hip
swirling and pelvic thrusting made him look less of a rock god
and more like Alan Partridge when he is attempting to lap dance
his way to a second series.
The relative success of the gig was dependent on how far Suede
delved into their back catalogue. 'Trash', the fourth track
in the set, saw the crowd respond to Anderson's urging and the
dangerously addictive pop hook of the song. When that gave way
to 'Metal Mickey' it was like watching a different band on stage,
a reminder that Suede were once raw, edgy and magnificent. The
energy in the room was carried into 'Filmstar', a song that
can sound contrived on record was provoked into a strutting,
confrontational and raucous celebration of the arrogance that
Suede never used to have to try to justify.
The new album is by no means a bad record but the failure of
the band to play standout track 'One Hit to the Body' meant
that most of the new songs sounded distinctly moderate when
compared to past efforts. 'Lost in TV' is a notable exception,
offering proof that Suede still excel at writing ballads that
can tug at your heart despite lyrically making little sense.
This was further evidenced during the encore when Anderson performed
a solo acoustic version of 'Indian Strings', which divorced
from the lush strings on the recording served to emphasise the
exceptional strength of his voice.
We were treated to three tracks in total from Suede's eponymous
debut album. The crowd justifiably began some serious leaping
and air punching as soon as drummer Simon Gilbert started the
opening drumbeat of the majestic 'So Young'. As the song reached
its dizzying climax it was replaced by 'Animal Nitrate' which
astonishingly sounded as fresh as when it was released a decade
ago. Oakes masterfully played the suffocatingly superb opening
riff to the song, with guitar support provided by new boy Alex
Lee. Lee looks uncannily like predecessor Neil Codling, but
he needs to do some serious work on the vacant stare into the
audience that Codling had made a trademark.
These songs provided a timely reminder of why Suede were one
of the defining bands of a mid 90's music scene dominated by
indie rock tunes. Whether Suede can reclaim such an esteemed
position in a new decade is debatable, as each new album provides
fewer songs that can withstand comparison to what has gone before.
Gavin Eves
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