LIVE
Supergrass by Thomas Jackson
SUPERGRASS @ O2 ACADEMY, NEWCASTLE (24.02.20) Words: Ben Lowes-Smith I genuinely believe that Supergrass are a classic British singles band in the same mould as say Buzzcocks, as I was excited as the prospect of seeing them, despite the fact so much of their music is inseparable from the idea of youth. The last time I saw Supergrass, it was pre-smoking ban on the Supergrass Do The Hits tour and they were ferociously battering away at an enviable canon before any member of the band had hit 30. Tonight is different of course, the setting more corporate, the audience older, the carefree joints replaced by the glow of smartphones. Some of Supergrass’ music hasn’t aged so gracefully in parts, slower more plaintive numbers like Late In The Day and Moving feel more Hallmark greeting card in tone than ever, but when Supergrass hit the spot – which they do often – they are evergreen. They sarcastically open with In It For The Money, play Alright dismissively, but in spite of the motions they are going through they still really mean it. Caught By The Fuzz sounds like the 24-carat masterpiece it always has been, Lenny and Mansize Rooster are absolutely joyous. They are, ultimately, still an absolute joy.
HEATHER WOODS BRODERICK @ OLD CINEMA LAUNDERETTE, DURHAM (28.02.20) Words: Ali Welford With bass, drums, three keyboards and three guitars, plus a full complement of pedals and percussion accessories, Heather Woods Broderick has returned to the UK equipped for audiences in their hundreds – not a launderette in one of the nation’s lesser travelled tour stops. Nevertheless, with a fully rehearsed show and bandmates Andrew Carlson and Dean Anshutz in tow, there’s no question of paring things back. If the setup swallows half the floorspace, so be it! Although best known as a key cog behind Sharon Van Etten, the Oregon-based songwriter has proved more than capable of mirroring her friend’s golden standard, not least with last year’s sterling third album, Invitation. However, despite that record’s breakout success, tonight’s set resists the lure of a front-to-back showcase, instead offering a snapshot of a far wider catalogue. Certainly, the reverberating echoes of I Try and
the gorgeous sprawl of Nightcrawler make for gorgeous standouts, but there are also gems from prior records, not to mention Home Winds and Hummingbird Skylight – the former a stand-alone single issued as part of a campaign to fight climate change; the latter an effective reinterpretation of a song penned by her partner. “We usually do a rock encore!” she jokes, introducing the evening’s sole concession, a solo acoustic rendition of Turned. It’s an illuminating sign-off, and perhaps aligns with what many anticipated en route to such an intimate space. In reality, those expectations are far, far exceeded.
OTOBOKE BEAVER, DRINKING BOYS & GIRLS CHOIR @ SAGE GATESHEAD (21.02.20) Words: Ali Welford There’s a fervent, healthy-sized gathering in Sage 2 for the muchanticipated visit of Japan’s Otoboke Beaver. Sure, we may seem ambivalent in comparison to livewire guitarist Yoyoyoshie, but a punk band stirring such genuine excitement in 2020 defies logical explanation. I’m terrible at enjoying myself, and even I’m experiencing an epiphany; a year’s worth of giddy gig thrills condensed into 50 precious, unfathomably fun minutes. Stupidly fast, tight as hell and far, far too funny to be obstructed by a mere language barrier, it’s a performance of joyous, thrashing and borderline frenzied pandemonium. It’s also one of remarkable fortitude, where even those numbers which barely clock 20-seconds are bolstered by unflappable hooks, ensuring even the wildest rides never threaten to derail. Having quit their jobs back home, they’ve also mastered the art of trumpeting merch, and even conclude with a song about shopping – as though their regular verbal hints were just that little bit too subtle. In a sense, they’re the only wasted moments all evening; everybody yet to purchase a copy of Itekoma Hits is already rushing to the desk. There’s also plenty to enjoy from South Korean support Drinking Boys & Girls Choir. Skate-punk isn’t a sound I’ve devoted much time to since my mid-teens, but much like Otoboke Beaver there’s a verve to tunes like National Police Shit, I’m A Fucking McDonalds and BIG NINE, Let’s Go which renders resistance futile. It’s enough to stave off nightmarish visions of Sum 41, and even survive brief misguided dabblings in ska and oi! Top stuff.
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