Gigs List

Index    2006    2005    2004    2003    2002    2001    2000    Before 2000

Some gigs I have reviewed to friends then : these have long-ish reviews that have just been copied from the original e-mails (edited sometimes...). Other gigs are just quick memories. And anything from The Bravery (2/2005) on has been written on the evening or shortly after.

I'll open up a new page for 2006, because this one is getting a bit long, not very quick to load....or update.

Gigs 2005

The Paddingtons+Kill City        Le Triptyque    20/12/2005    *****

So to the last gig of the year, third time for the Paddingtons in Paris. A slow pint-drinking build up in Le Croissant while I'm waiting to hear weather Richard can make it or not tonight (he can't), band+McGee get in the bar, I greet them on my way out and proceed to queue. Well tonight is surprisingly packed (compared to the last Poptones party) and people get refused entry, but fortunately I've got my ticket already so I'm in. Cloakroom is full (no wonder, it's a chilly evening in Paris), so the only you way I can get my coat in there is by pretending it's a bag (well sort of...). A quick vodka is ordered, while Second Sex, the token French opening band start their show. They're actually not as bad as I feared, but well, just one more of theses pretend Libs-copycats, although they do sing in French sometimes. As it is, they provoke a frenzied reaction (they seem to have a few mates around), and well over half my vodka is spilled in the process of going towards the stage (though I'm impressed with myself when I actually briefly drop the glass before catching it back a couple of inches lower, I couldn't do it again if I tried), and well they do look and act like spoilt teenage wankers (as confirmed by their demeanour in the queue before the gig, and attitude afterwards, notably when the bass player crowdsurfs and smashes a few heads and legs during the Padds set...and doesn't get chucked out unlike Paolo - see below). Anyway, so unlike usual, I decide to chill out on alcohol consumption (unfortunately not on ciggies) and stay in front of the stage, saving me the hassle of going to the bar and back. It's also a chance to chat with Vaness&So, the infamous sisters from Reims, so cool. I also meet a couple of people that I apparently talked to at Rock en Seine although I've got to admit that my recollection of them is somewhat hazy, but hey yeah, they do look familiar. Anyway, it's with a certain sense of anticipation and expectation that we welcome Kill City on stage. Grant Paddingtons is setting the drumkit (is he gonna play two shows tonight?), and Lisa Moorish is all worked up, dancing to the pre-gig music while she's setting up her DAT player. What follows is a storming set, the most quiet of the night in the crowd, but undeniably also the best, with lightning riffs and DAT trickery (no Grant's not playing, there is no drummer indeed), and Lisa's enrapturing voice. I don't know many titles (I actually know only  two), but they're all deadly efficient, I'm immensely looking forward to the next releases. Lisa is in good and talkative mood, rightfully points out that hey, Hooligan on E was not just Pete's song but was 'half-written by Kill City', and dedicates the last song (White Boys Brown Girl, pretty obvious...) to Vaness, while Grant has actually come on stage to drum on this one.

The first time I saw The Paddingtons in July, I thought 'great!', I didn't know them beyond a couple of tunes, it was Hedi Slimane's birthday party, I was there for The Others, and well with that kind of audience, it was always going to be a rather bon enfant atmosphere. Last time, when they headlined the first official Poptones party in Paris, the songs were more familiar, the show was great, the crowds were great, I would have to read what I've written down on this page, I'm pretty sure I was nearly sick at the end, but it was OK, I could stand the whole gig.And the aftergig was brilliant, with the band in a really cool mood. This time though, the mayhem scaled another dimension and it wasn't all pretty. But first before the band went on stage, some girl decided to add 'Can't stand me now' at the end of the setlists on the stage. Oh well, why not ? But why ? Anyway, the setlist may well have been more or less the same as last time, opening with Same Old Girl (the band appeared onstage on various attire, Grant only wearing his underpants this time, Lloyd in a beige mac and T-shirt, Marv in a darker one, no T-shirt (the original line-up was back this time, his hand seems to have healed OK), Tom and Josh in big duffelcoats, with extra red-framed plastic shades for Josh, giving him a particularly cool look. Second song in and a fight erupts in the moshpit, the bouncers intervene and a guy is pulled out via the stage (but isn't kicked out, maybe the other one is ?), and shouts 'Fils de Pute!' in the microphone, I'm pretty sure that's not in any of the Padds' lyrics...'Come on, be nice, it's Christmas!' says a visibly puzzled Tom. Anyway, the coats go off and the gig resumes, there's not much point in reviewing the gig itself (see september for that), Sorry is dedicated by Lloyd to 'the cunts who were fighting', but at the front it's still a fight of sorts, limbs are being crushed, heads being smashed in, and it's only the density of bodies around that prevents me from hitting the floor a few times. It's just a constant struggle. 21, Panic Attack, and I eventually give up the ghost and retreat slowly backwards bit by bit, as I sense I don't have the energy to resist for the couple more songs that are left, until I reach a nearly breathable spot. Unfortunately the damage's already done, and for safety rather than anything else, I reach for sick point in the loo for the last song, oh well....Now the club night proper can start, so I neck down a couple more vodkas, but I'm bizarrely not yet in the mood for dancing. Coming back near the front, I meet Paolo's sister who tells me her brother's apparently been chucked out, must have been near the end, cos he was still OK near the front when I started my retreat. Not being allowed back in as is the norm in here these days, but it seems so unfair and disproportionate (face it guys, this boy is not a troublemaker, get real !). I don't get to talk with the band loads tonight, so just quickly congratulate whoever I meet from Kill City and the Padds (I only miss out on Marv after all), but they seem very quiet tonight, no dancing on the floor and apart from Grant they all leave not too late. Guest DJs don't turn up tonight, but it's nothing to complain about, as Alan McGee is manning the decks masterfully all night, that is if you like The Libertines, which he plays an enormous lot, very fine by me. Yeah yeah yeahs, New Order, Blur, Oasis, Pulp, Bloc Party., Radio 4, The Clash, Hard-Fi, Morrissey, Smiths, etc. etc. (I really got going in the end as usual...), but also a couple of tracks from Dirty Pretty Things that only he could get his hand onto, obviously (nothing revolutionary, that was always to be expected, but hey it's still rather good). In the end I'm playing babysitter to Vaness&So tonight, I mean making sure they get through the night OK before taking the train the next day (well OK, later in the morning if you want). As it happens, we meet up with Earle on the way out who suggests we get to his place. So on the taxi journey we get treated to more tales of Pete&Carl, The Parisians (or what's left of them), his situation and also an explanation for The Paddingtons' tiredness and unwillingness to unwind tonight. Apparently their car had broken down and the garage couldn't fix it so they got stuck for about 6 hours there or something. Anyway, the rest of the evening wisely doesn't involve more drinking, but watching Trainspotting on a massive projection screen, and the sudden arrival of Earle's flatmate Tim, accompanied with Monica, who's, er, well unwound (or frankly nuts depending how you want to put it). Anyway, metro is safely reached in the morning, I hit bed at 7am, it's allright, it's been another frankly good evening, I just think Poptones could have made it a little more festive and christmassy with confetti and stuff, but hey, Christmas is still 4 days away, and would you believe it, some people are still working (oh sorry Sophie !). To be continued next year.....

Stars+We Are Scientists        Le Nouveau Casino     6/12/2005    ***

Check the gig schedule this year, and you will notice that after a sudden 8 or 9 months of Nouveau Casino activity, I haven't been to this venue since The Go! Team graced it waaay back in April (if my memory serves me well). Well, so here I am, back for one night only, low-key, not many people I know, and a very sparse crowd to start with. It's been a while (well, OK, 3 weeks) since my last gig so I'm not quite feeling up for it, but as soon as We Are Scientists show up and start playing, I get that old feeling back : it's good to be here. Completely sober and also ciggie-free tonight, I welcome the three scientists on stage, with that bizarre niggly feeling all evening that I have met singer Keith before, but it's obviously not true, maybe it's just because he's a cross between Anthony Rossomando (for the shape) and Didz Hammond (for the haircut),no I don't know but his face looked strangely familiar. Anyway, enough of the deja-vu feeling,  because that's one thing the music didn't feel like. They've got quite a few angular tunes (they could easily pass off as Brits if they didn't speak), bringing together, art-rock tunes and rhythms à la Bloc Party., singing reminiscent of Steve Bays from Hot Hot Heat, and the unmistakable cool of most New York rock band, because after all that's where they are from. They've got some very cool tunes (most notably debut single Nobody move, nobody get hurt and probable future single -I guess- Cash cow), the singer can really sing and they seem very nice too, speaking between songs and displaying a kind sense of humour(the drummer is alleged looking for a nice French girl....to settle down and go farming). I'm not sure The Great Escape, current single and closing track tonight is their best (it's possibly a bit too formulaic), but they've set the bar high enough to make me want to come back for more.

 

If We Are Scientists could easily be just that (check Gordon's moustache and crazy specs, Martin's beard and shaggy hair), on thing the next band definitely don't look like are....stars. Hailing from Montreal (but don't you every clumsily say to a Parisian audience you're from there if you're not from the French part and can't speak much of the linguo - though to be fair the mostly cosmopolitan audience just about forgave them tonight)., this lot do look like a disjointed band. The female singer (and sometimes guitarist) looks a bit like Nena (of 99 Luftballons fame) a few years down the line, coming on stage with a pint of red wine (pint for the size, glass of wine for the shape) and looking suitably inebriated all night, the male singer (and sometimes trumpetist) has got a tramp-like dress sense (I-picked-up-the-first-item-of-clothing-on-my-way-from-bed-style), the bass player (he plays Airline guitar too, sky blue, not red, surely Jack White has exclusive use of the red models) wears a trilby and looks like a particularly grumpy moustachioed Dutchman (sorry it's the only think I could come up with), the keyboard player could be John Thomson off the Fast Show ('welcome to Jazz Club') if he were being impersonated by one of them off Goodness Gracious Men, wincing all the time (to be fair, the pre-gig keyboard soundcheck didn't seem to go down too well), they also have a gigantic swedish-looking guitarist, a drummer with a punk haircut who wears a tracksuit top and everyone assumed was a roadie, also a rather posh and fit violin player surely plucked from a classical orchestra.

 So on to the gig now, and when they start with 'Going going gone!' (not from the latest album which is the only one I've got), it's the most beautiful track I've heard all year at a concert. I expect some magic to follow but it never quite materialises. From then on, they play most of their new album, there's some truly good stuff here, but the singer seems slightly uneasy while the chanteuse, still very drunk (or at least acting it) and happy to pose for photos, seems in a world of her own. As for the bass player and main composer I believe, well he manages to half-smile once during a brief exchange with the big guitarist, but apart from that he's the grumpiests fucker I've ever seen. This doesn't meant the two front people do not acknowledge the audience because indeed they do, but it's just that the performance is indeed uneven. The sound is not particulary good either, and all this is confirmed to me later by a person who was at their gig back in September in Paris where the singer was apparently on fire. To be fair to him, the singer manages to force quite a few smiles on his face, but what could initially look like a commercial smile feels more and more like the smile of a man who has to struggle against adversity, someone who's suffered a lot and is evidently still suffering. He thanks us many times (and there's not doubt he is sincerely touched here), acknowledge the canadian contingent, tells us a bizarre joke ('You're all we are scientists fans, cool as Harry Potter!'), while his acolyt tells us she's studied in France for a year, but as she does so in French, someone heckles her and she switches back to English, never to utter another word in French tonight. But hey, whether they're just drunk or slightly uncomfortable, one thing these two can definitely do is sing, which is not something most bands even attempt to do these days. And sing they do beautifully, duetting or soloing, and the voice that comes out of Amy's larynx belies her 'bored housewife' look and glass of wine. Although sometimes she tries bizarre things, like at the end of the splendid  Ageless Beauty, when she let the microphone hang about for five seconds and then tries an awkward scream that doesn't really fit anywhere. What I'm trying to say, with its new-orderish finale is a particular highlight of the show, all driving rhythms and chimes. The main set ends with the superbly sweet and christmassy Calendar Girl (also the concluding track on the album).

They come back a few minutes later (much more reasonable than these gigs where the band hardly reaches backstage door before coming back on) for an encore that's just like the main set in a nutshell : one stunningly beautiful song that's not on the album (that'd be the second most beautiful song heard live all year then), another rockier number (not sure I remember which one, maybe the first five times complet with hand-clapping), and finishing with another lovely track (sorry I can't remember which one though this one may be on the Set yourself on fire album), but with chanteuse and drummer departed. A lovely finish all the same.

So here we are, tunes this band certainly have, but tonight, something is not quite right and only  makes  for a slightly disappointing performance, that's lacking the magic that's sometimes alluded to. Montreal, strings, trumpet does not one the next Arcade Fire make, but Stars may well be there this winter to fill that Delgado-shaped hole in your life. Maybe tonight, scientists are shining slightly brighter than stars.

 

Sons and Daughters+Quidam        La Boule Noire 18/11/2005    ****

Not a very packed Boule Noire when I enter the venue tonight, it's actually pretty empty (I get there not long after doors opening time), most people busy queuing next door to see Supergrass. I'm not feeling too well tonight (but I felt worse the next day, possibly some virus), but it's cool to see Paolo and his sis (and friends of them) to have at least a couple of familiar faces. Paolo informs me that support band Quidam are laughable, but as it turns out (and he agrees), they're not that bad at all, they are listenable garage-rock, and while the whole thing's pretty much devoid of a memorable tune or event, and the bass player is in the tall-but-not-very-smiling mould of Mark Hamilton, the rest of them (well that's two people) seems happy to be there, and the drummer looks like he's having a ball. Their half-hour step isn't overstaying it's welcome so that's all right. The room fills up a bit and it's after all not so empty, there's indeed probably more people than for the Magic Numbers here in July.

Half an hour later, Sons and Daughters take to the stage, the girls in shiny red dresses (and heavy make-up for Adele while Ailidh looks a bit more subdued), while the boys have more of a cowboy-style, especially Scott on guitar with his pointy shoes, dark grey deans and shirt....and braces. No hat, but a brilliant James Dean-like haircut. Dave behind the drums just wears some remarkable white leather shoes. Anyway they start with Fight (or was it Royally Used, I have a sudden doubt), a couple more songs, the first big cheers appear for Johnny Cash but it all really gets kicking with Red Receiver followed by the ever superb and menacing Rama Lama. Each song is briefly introduced by its context or the characters that inspired it, all probably hidden somewhere in the Glasgow folk. 'This one is about suicide....but not Alan Vega's Suicide', 'this one is about a friend who's not really a friend but stabs you in the back'. Old songs are played (well, introduced as very old like Start to End but still available from first EP love the cup from last year), Throughout the gig Ailidh switches between mandolin and bass, while Adele tries her hand at tambourine, bass, keyboards and guitar (though in the latter case, it's only subtle touches hardly noticed) while writhing on in the stage with more and more fury as the show progresses. Medicine, Taste the Last Girl ('this is a song about a man who hates girls') provides another neat combination, while Dance me in (not about anyone there : 'this is a song to dance to') makes for another riveting moment. Hunt neatly closes the main set (with a bit of moshing going on as well) in no time, before rapturous and prolonged applause brings them back for a much demanded encore. Curfew requiring or maybe band member exhaustion (we don't know ) makes it short, the band electing not to play La Lune after all but only sticking with Blood, which is probably what BRMC dream they are doing just now, even if this was released before. It's another corking cowboys meet in glasgow tune, and no matter what, it closes the night in more than satisfactory fashion. No doubt they will come back. When the lights come on shortly after, the only surprise is that the music that's being played is The Clash and not The Dead 60s with which we'd had our ears bashed before the gig and between the bands. The T-shirt stall is being mugged and there's no T-shirt left when I get there. I get to thank the guitarist though (much shorter that he appeared on stage, he's possibly about my height...), just a brief smile and shake of hands, but yeah, it was jolly good!

The Mardous+Sourya    Le Triptyque 15/11/2005    ****

So back in Paris for a full gig with the Mardous this time. We entered Le Triptyque at about 10.30pm.Since there was absolutely no queuing outside, we decided to stick in Le Croissant for a few beers before heading across the road to the venue. It was indeed very quiet inside, with fewer people than during the previous Poptones night. But then, it was always to be expected, with no massive name to drag the people on a cold rainy night, even with David Holmes DJing. The good point was there was enough space to breathe freely. A quick hello to Mr McGee and then Sourya started shortly, while I met Ben&Ross for a quick hello, and I can't say I was very much more impressed than the first time. Once more they finished with their 'german' song, and again it was the best number when they launch into the all-out electro-rock assault in the second part of the song. A few drinks later, and watching the screen in the bar room, I could spot the right time to go in front of the stage for the Mardous' show at possibly about 12.30am. A different set from saturday's since they didn't start with Popsong this time. To by big shame I can't even remember what song they started with! But they still played all the favourites, Another Einstein, Popsong, and of course Revolution over the Phone, with self-confessed cheesy introduction ('There's a riot going on, er, no, we'll just have to do with a revolution', cheers Ross !). Altogether a short but very pleasant show, with new drummer Stevie fitting in seemlessly. There was apparently a mad guy dancing in the middle, but I missed him completely since I was right in front of the stage. But he seemed to impress Ross and Ben enought to warrant two mentions. A few new songs were also played, and it was all very good. The place emptied rather rapidly afterwards, and Richard, me and the band found ourselves the only people left at about 1.30am. So not much dancing tonight (David Holmes did his DJ set, but it wasn't so remarkable, although I suspect it's because he needed an audience !), despite the music being played still being pretty much tip-top. McGee didn't even have to DJ tonight. So yeah, the music stopped at 1.45am and the lights went back on. Just finishing some red wine from the Mardous' rider (oh and cheeers guys for the badge and poster), got to talk to the new drummer, very nice young chap, very unassuming and modest, but absolutely faultless behind the kit. I think he met them through the New Shapes or something but I'm afraid I can't remember everything at that point. He is much younger than Ben and Ross (he is 20), but they like him a lot, so hopefully he will stay on board now, I hope McGee liked what he saw.  So well, we just decided to go to the Highlander, because that pub was open until 5am. I didn't drink more than a pint there cos I was already struggling to just stand still, but it was just good to talk to these guys again, talking about bits and bobs (Stevie's a massive AC/DC fan would you believe it), and after a while it was time to say goodbye to Ross (very laid-back 'twas very good to see you again'), Ben (loud 'Ollie, you're brilliant' - take Aberdeen accent - 'you're brilliant too!'), Stevie ('nice to meet you, see you again very soon'), and Earle (extremely wasted, not in the band, but doing this and that for McGee in Paris, co-owner of The Shebeen 'you must come more often to my bar or I'll hit you') and take the first train home. They're going into studio this week I believe, and hope to come back at some point in January. In many ways, tonight was not just a gig, it was a great evening out with mates who happen to be in a band.

The Mardous+The New Shapes+The Electric Cinema     Nambucca, London    12/11/2005    ****

It's one of those funny gigs: I came in here for The Mardous, but couldn't actually stay for their show since I had to be back in Brixton at about 11pm (in the end I was there about 12am instead) to go to a mate's party. So it was just to say hello really, but in the end I discovered a couple of new bands really worth the trip (and the £2-only admittance fee, you'd never get that in Paris). So getting in, I met Ben, who didn't expect me there, and Ross arrived not so much later. Anyway, so the bands (notwithstanding the generally appalling sound quality, but it wasn't their fault) were good. First up The Electric Cinema, a couple of guys (well, three, there's always a drummer but I couldn't see him from where I was sitting), one on guitar+vocals(+sometimes keyboards), the other on keyboards+vocals(+bass on one song), who look very nice, have fun onstage (the stage is so cramped the guitarist has to practically jump on the other guy's back on one occasion when they both play different keyboards), and come up with a very interesting and pleasant mix of electronic and guitars. It's lovely, its sounds good (the voice isn't always spot on though), and they really really do have tunes. Best way to check them for you is probably to try their myspace page (see link in my index or link page). The New Shapes (all four of them) are onstage next, more rock'n'roll that the Cinema (no keyboards there), and after a couple of song to get warmed up, they really get into their stride and they could be big. The bass player (he's a lanky kid, only 18) is particularly impressive in his melodic play, and he also does the saxophone on one of their songs. He's their most impressive performer for me, but the rest are fine too. New single Waiting for a God is now available on 7in and soon on digital download. Again, check the link via their myspace page and you won't be disappointed. I promised the Mardous I'd stay for one song just to mark the point, and they started with Popsong, but I found myself staying for three because well, it's hard to leave when you're in such good company. But hey I had to, and found out just once more from Brixton (loads of police at the Tube station there, feels like France...) that while it's easier to get a cab in Paris than in London, it's not actually any cheaper. But hey, if you could teleport 'live in Paris, drink in London' would be a good motto.

Funny thing also, when I got back to Paris, I straight away got a myspace message from The New Shapes to add them to my friends. Wel spotted, lads. And one new fan spreading the word from abroad.

 

 

N.B : the reviews from The Robocop Kraus to Dirty Pretty Things below were written much latter, due to a) computer breakdown then b) heavy schedule. So while I did take note for some of them, I'm afraid they will not necessarily transcribe the intensity of the performances. It's been a couple of weeks of amazing gigs, with special highlights from the dark brooding rock of The Duke Spirit to the perfect slice of happy german art-pop of The Robocop Kraus via the perma-grin-inducing charm of The Magic Numbers, the shambolic set of The Rakes and the drunken heavens of Kaiser Chiefs. Please also note that they were all written in backwards chronological order, and are therefore in some cases better read from top to bottom date-wise indeed.

The Robocop Kraus+Ichabod Crane     Le Point Ephemère 7/11/2005     *****  (photos)

One of the most eagerly awaited gig for me since their last visit here at the end of March. While the trendy and dandy were out at L'Olympia for the final night of the Inrockuptibles festival, witnessing a short and slightly disappointing show by the Arctic Monkeys(apparently, but true the bill was bizarre, and I fear they may be overrated), with Editors (again!), Devandra Banhart (I'm not very tempted I must say) and Mercury winner Antony and the Johnsons (sorry I'm afraid that might go beyond my taste, amazing voice no doubt but sometimes I prefer a cheap thrill) also on the bill, the happy few gathered in le Point Ephemère for a much cheaper and no doubt much more pleasing show. The later starting time also meant you could comfortably reach the venue after work. Only two bands on the bill this time, but there was something distinctly refreshing about openers Ichabod Crane. 'C'est du rock vendéen' as the guitarist bashfully announces at the start of the show. I imagine he occupies centre stage because he wrote the song, because otherwise he isn't much of a frontman since he doesn't sing, and his only stage play consists in nodding his head repetitively. That's not a critic by the way, as his guitar play is crystal clear and impeccably melodic. The other guitarist (plays bass on a couple of tunes) plays barefoot, the drummer, well I can't remember now but he's OK, and the bass player (plays guitar on a couple of songs, yeah instrument-swapping is the norm these days) who also is the lead singer on most songs looks a bit like Didier Six (shaggy haired 80s French footie player) and is, to me, the weak link. I mean, he howls rather than sings, and I have to say the best songs here are the instrumental ones. And when these people do melodies (a lot of jangling here), well they could teach a few things to many of the popular bands around these days. There is a very good atmosphere onstage, and these boys are endearing, with their sometime quiet-lound dynamics with a melodic tinge. If they had a singer who could sing (and funnier than that bass player, can't remember now but I think he came up with a couple of rubbish jokes), they could be very very good.

Like many art-rock bands outside of Britain, the Robocop Kraus have been going on since longer than Franz Ferdinand, Bloc Party. et al. But hey 'nous sommes le Robocop Kraus, de Nürnberg, z'est cool!' announces Thomas after their first song, and therein lies the difference. Apparently, Germans are only allowed to do electronic music (Kraftwerk), krautrock(Can, Neu) or heavy metal (Rammstein, Scorpions), so The Robocop Kraus remain condemned to not get the global success they deserve. Because deserving they are. But the whole wide world's loss is our gain, and tonight is to be enjoyed with your limbs, lungs, hands, feet all given to the cause. While they may not be fantastic on all tracks on record, The Robocop Kraus are a stupendous live proposition, thanks mainly to frontman Thomas Lang RickyWilsonesque showmanship qualities. Hardly three songs in he has a little trip into the crowd, climbs on the bar, then goes behind the bar and comes back, and all this with a properly wired microphone that doesn't naturally allow him to indulge in the same antics as Ricky could the previous day. He makes everyone sit down and listen at the start of one song (Tobias the bass player also often goes 'shhhh!' with a laugh). At the end of another one, while someone yells their impatience he replies with his inimitable German accent 'on a du temps...je sais, z'est lundi....mais z'est lundi pour nous aussi, hé !', cue massive laughs and cheers in the room.  I'm being used as a translator at some point (I get completely confused between German and English and French when he asks to translate 'a man is not a bird' (possibly an interesting pun in the title that not everyone seems to get). A few numbers later down the line, there's a kid that complains that there's not anough dancing in the crowd (in which he is quite right) and climbs on stage. Thomas welcomes him to stay, asks him whether he wants the next song to be punk rock or ballet, but the man wants to throw himself back into the crowd. In English this time : 'Me too, I remember my first beer!'. Tobias : 'I remember your first beer too!'. The fantastic Fashion triggers another appearance into the enraptured crowd (on the other side this time, nobody will be let down tonight) and everyone is having a fantastic time.There is not a week track all night, and they manage to put their hits Fake Boys/You don't have to shout even before the end of the regular setlist ! The setlist is drawn from all the albums, mixing all favourites with new songs, and when it all finishes, everyone's shouting for more. So they come back for a welcome but short encore, the gig finishing with Thomas dismantling the drummer's kit element by element while he's playing on (no mean fit) and finally dragging him into the crowd with his last piece of the kit until the final hit. Not a beat is missed, this is quite impressive. Waow! All on stage holding hand for a true artists' bow, while it's me bowing as low as I can because frankly they deserve the highest praise. If they were British, no doubt they'd receive the same lavish appreciation reserved to Franz or the Chiefs, because they belong up there with them.

One funny aside : it seemed like the people at the sounddesk only had one CD tonight : The Rakes' excellent Capture/Release. It got played from the start before the opening band, between bands and after the Kraus. Which means I think I heard Retreat a few times, but I'm not sure we quite made it to Work Work Work....

Since Karim was driving today (previous experiences have proved that it was often tricky to try and get a train back from this venue when gigs finish a bit late), we had time to stay on for a last drink, buy a great T-shirt and badge (plus the first album that I didn't have), and congratulate the bands, from Matthias (the very classy guitarist, tall and impeccably dressed) and Tobias (such a big man) to Markus and Hans, but infortunately not Thomas, probably too busy trying to dry himself after such a give-it-all performance. They're all nice and very accessible, their music is brilliant and their shows are simply fantastic. Ladies and Gentlemen, The Robocop Kraus from Nürnberg indeed. Bless their cotton socks.

 

Kaiser Chiefs+Maxïmo Park+The Futureheads+Hard-Fi+The Subways    La Cigale 6/11/2005    *****

OK, now I have to say something you don't really need to know, but writing all this in one go from top to bottom (starting at the Mardous November 15), I'm starting to tire. And yet I realise I have to tell you about yet another amazing gig here. Can I keep it short ? I doubt it. So I'll cut down on the beer drinking and asides and try to concentrate on the shows (at least for this one, cos I can already anticipate that on the day before -- so the next review I'll write down if you're following me - it was all mostly about the asides), despite injuring yet another ankle playing footie on that very afternoon. Anyway, so The Subways. Because it was the first gig of what promised to be a riotous evening (pun fully intended), me and Michael decided to watch it from afar (but we had a good view), rather than going moshing with the kids straight away. And I have to say the Subways rather impressed me this time, much more than last summer. I was slightly worried that they started with possibly their best song (With You) and that Billy climbed on the drum riser already for his rock moves. But after that, they sustained the rhythm, the sound was excellent, and they never relented. Billy even went for a little climb on the speakers to go around the venue (without a guitar or microphone though) at some point, and while Rock'n'Roll Queen is still irritatingly cheesy (especially when one verse is sung in French), they really were a good surprise, even with the cheap-budget trick of an acoustic-effect pedal plugged on the SG rather than a normal acoustic guitar on a couple of songs. 'Merci/Merci beaucoup' seems to be the only words on the menu between songs (much to Michael's irritation), but hey they still performed better than I expected. Lovely.

Hard-Fi were by me most expected, but it seems some people can't take them and dismiss them as posho arrogant posers, which I think, is completely ignoring their background. They did get a decent reception though, however maybe it was just me and a few people belting along. They certainly didn't disappoint me, starting straight with Middle Eastern Holidays. Massive singalong anthems is their lot (Unnecessary Trouble, Cash Machine anyone?), and while I still don't much like Hard to Beat (I seem to be an exception for that), Tied up too Tight is a fantastic song to shout along to, and either the public really is singing along or there are amazing effects on the microphone, because I swear I can hear all the boys and girls go 'la-la-la-la-laa'. A proper acoustic guitar appears for Stars of CCTV (oh yes another anthem), and they wisely choose to avoir their Help/Warchild album version (a song incidentally called Help Me Please), as it would be too quiet for that sort of evening. The set-closing Living for the weekend is another ode to escaping day-to-day tedium, and makes me look forward to a headlining performance where they have time to play more songs like the beautiful Better do better. If people call them arrogant because they're not all grinning young kids like the Subways, all out mental art-rockers like Maxïmo Park or drunken popsters like the Chiefs, well I don't care, their music is good and their lyrics certainly speak more to the people of Staines than to the Parisian musical know-it-all kids. Oh well, fuck'em !

The Futureheads in my opinion remain a very overrated band. Ok I'll give you that, I was on the side, slightly behind, couldn't see much, but I could still hear the show. No doubt I'd have appreciated it more in the moshpit, but while their 3 (or 4?)-part harmonies are to be admired and sound very nice, there's a lot of random noise for nothing. Melodies aren't really clear-cut, passion is lacking, and if some people think they've got the charisma that Hard-Fi are missing (yeah I'm just quoting from some people I've heard and reviews I've read elsewhere), bloody hell, where's your heart gone? The Hounds of Love cover is fine (but hey, it wasn't their song to start with, anyone knows if the new Kate Bush album is any good by the way?), and they feel confident enough to play one song after this, but this gig rather leaves me cold and unimpressed.

Maxïmo Park on the other hand are not just marginally better as I initially suggested. The first time I saw them, and when I first listened to the album, I had this impression of confusion, of too many ideas throw in at once. But I realised even a few days after this gig that some melodies still stuck in my mind. Yes, I was back in the moshpit there, and Paul Smith's glorious stage presence (all those splits vaults, the usual book-reading routine that popped up on a different song this time I think) makes the show a proper attraction. But killer tunes like first single The Coast is always Changing are also part of the appeal. It's a riot in front of the stage, with Graffiti and Limassol inviting pogo action. Someone in the crowd repeatedly asks for Acrobat, but while it's a little quiet slightly-out-of-place gem in the context of the album, they do the right thing and don't play it (it would really kill the show with such a short set on the cards), opting instead for their Help/Warchild song Wasteland and what's probably still their best song so far, second single Apply Some Pressure, triggering levels of moshing so far not seen on the night. Another decent single, Going Missing, finishes the show, before the wait for the big act of the night starts.

And waow. The Ricky Wilson show starts before a not is even being played. The band takes to the stage to the sound of Dire Straits' Money for Nothing, and Mr Wilson throws himself straight into the middle of the crowd to snog a tall blonde in there (his girlfriend? someone he met just before? the result of a bet? who cares!), spilling beer all the way (I stink for the rest of the gig, not that I wasn't a sweaty bastard already anyway, ha!) and causing havoc before it's even started. Was Everyday I love you less and less the first song? Possibly. It's a non stop greatest hits show (well, yeah they've only got one album out, so fucking what?) and it is also practically a one-man show tonight, even the popular Nick Hodgson behind the drum kit struggling to make an impression. Tonight, it doesn't matter how big the venue is, Ricky Wilson will ocuppy the whole space. What he did in La Boule Noire, he can do in La Cigale (well Ok, there's no pipes to hang yourself too but you get my drift). With his infrared connected microphone that frees him of wire-dependence, he can crowd-surf on the crowd as far as he wants too, climb the stack of speakers and walk around the balcony while still singing, it doesn't matter and he's loving every moment of it. He's not the only one, as an appearance by the singer from The Subways crowd-surfing near the front attests. The songs don't matter that much, although I predict a Riot -no clumsy mention of the riots in Paris from Mr Wilson, fair play to him - and Oh My God are still the biggest draw of the lot, while they avoid playing too many of the more quiet numbers like Time Honoured Tradition so loved by Michael. Na Na Na Na Naa, Modern Way, Born to be a dancer are also classics, though I'm still not so convinced by recent AA-side Sink That Ship which is too much Maxïmo Park-styled and of slight concern to the Chiefs' future direction to me. Ricky speaks a bit of French : "how do you say 'raise your hands' ? ... 'levez les mains?' OK", and so proceeds to have everyone raise their hands in time for the 'in my liiiiiiife' bits on Caroline, yes and it's a massive success. I do not get an answer when asking for Lucas Radebe (the original Kaiser Chief after all, who knows what they'd have been called if he didn't exist!), but tonight, the whole gig is a massive riot, with multiple stage-diving acts (Paolo's been mentioned everywhere so I feel bound to name the kid too, although he appears as 'Pierre, 27yrs old' in the NME, while interviewed after the White Stripes' concert !), Ricky dancing/shmoozing onstage with another girl (actually Paolo's sister methinks), and as I said earlier, crowd-surfing more than once. The English kid I met earlier who was wearing the same T-shirt as I fails to be with me for the chants of 'Chief! Chief! Chief!' that the French don't seem to get (but the poor kid must have passed out by now, he's following them for the whole tour), but they come back for an encore of simply two songs. First is their Marvin Gaye cover from the Help/Warchild album (told you, I think only Hard-Fi are not playing their song from the album these days), I heard it through the grapevine, with Ricky on cowbells and everyone clapping hand, a very good tune to dance to that is. Then it all goes absolutely bonkers for old track Take My Temperature, which is barely sung, but rather screamed, Ricky Wilson climbs on the stack of speakers, drops his microphone on the way, has another one sent to him, goes to serenade the whole of the first floor (Karim, sitting up there, is well chuffed), comes back, crowdsurfs some more, and it all eventually has to come to an end, but hey, what a gig, what a show! Yet another candidate for gig of the year, this has been quality, and all in all a far more coherent evening than the previous friday. Now if they would have had like The Rakes tonight (instead of Futureheads), or maybe just The Go! Team, it would have been just too much to bear and go back to work the next day. Waow, waow, waow indeed!

Cat Power+The Rakes+Test-Icicles+The Organ    La Cigale    4/11/2005    ***

Tonight (well OK it was a fortnight ago at time of writing.....) was the first time that I didn't ware one jot about the headliners in a gig. I was here only for The Rakes, and to lend a curious ear to the other bands. The Blood Arm had pulled out to be replaced by Test-Icicles, but it didn't matter much as I didn't know either band very well so was equally eager to check both. Anyway, The Organ are nice, they are like the female Smiths and, er, that's about it. Stage presence is about zero, they do have melodies, and their lovely guitarist does so much jangly play without moving her body one inch the only surprise is she's playing a Telecaster rather than a Rickenbacker. The Smiths/Morrissey influences are a bit too obvious, and don't get me wrong, they've got some lovely songs that I wouldn't mind checking on record, but as a live gig, this doesn't do much for me.

Test-Icicles are ramshackle to say the least. I can't even tell you if I found them good or utter rubbish. All their jokes fell really flat, and they got a very mixed reaction from the audience. Although I have to say that a couple of kids there were really annoying : they danced and pogoed along, but kept insulting them between the songs. It's just fucked right. If you really don't like them, get off the moshpit, you don't have to dance to things you hate. Anyway, one thing they certainly have that the Organ didn't is stage presence. Maybe too much stage presence if you ask Benjamin who took a direct hit from a plastic bottle kicked at by one of them.He was still wearing the bruises on the sunday. 'We're here to play very loud and make some noise'. and noise they certainly make. But what they haven't quite got is melody. We fuck off to the bar before their last song (it was such a fight to get a beer after The Organ) so avoid queue for the next round of drinks.

Only a few days before, I was listening to the Rakes' album for the first time in weeks and realised how truly good it was.No shit track, not a duff song, and all these instantly familiar guitar licks. Not just tales of binge-drinking and everyday life, but also well-crafted guitar songs.

Tonight's show didn't disappoint, much better than last time they supported Bloc Party., although it's maybe also partly because the songs have become more familiar. It's very chaotic, but the classic Retreats, Animals etc. awaken the crowds and get the party started. Binary Love is on hand for a quieter moment, and then the first technical hitch occurs at the end of a song (which?). A few moments of total blank before power is restored and they start again.Alan's on form tonight with his never abating manic dance moves, the rest their more usual self-effaced selves. Then something very bizarre happens: The Rakes start playing their 'the world was a mess but his hair was perfect' catwalk showpiece, a song that normally lasts about 12 minutes. This was never gonna be OK for a show that's supposed to last 30-40minutes and in which they have already had a delay with the technical problem. And well, someone pulls the plug (who exactly ? it must be someone who knows about the song for sure) after only 3 or 4 minutes, just enough time to acknowledge another trademark riff. Chaos ensues, is that the end of it ? This time it seems more than just a technical hitch, they all come off the stage, then back, with Alan announcing : 'we're gonna play two more songs'. So they start Strasbourg (surely they couldn't not play it) to rapturous reception. Jamie signals to a guy on the side (roadie I think) 'one more' which the guys seems very unhappy about, but hey they managed to do 22 Grand Job (their first ever single, but also latest, as every single band in the world this day re-issues their first single once they get a modicum of success) for the last musical highlight of the night. Suitably knackered and with a soaked T-shirt, I buy myself a Rakes one, the go for a drink in the bar and meet Jarvis Cocker (yes, the one and only Jarvis from Pulp) on the way out. I'm well impressed, tells him I bought the Pulp Gigs' DVDs recently to which he replies tong firmly in his cheek 'I've learned to sing in tune since'. He tells me he should have something out on record in January and well, I don't want to seem ligging for too long, but he's a great man, exactly as I would have imagined him, but very quiet tonight. I meet Jamie (bass player in the Rakes if you haven't followed earlier episodes) on the way back, exchange a few words, and tell him I'd be going to Truskel club too after the gig. Staying on for Cat Power, I didn't really pay attention to the gig, lovely'n'all, yeah I was just talking to Paolo and his girlfriend all this time about many bands ang gigs, and went back to the bar even before the end of her performance. I'm not sure whether her stage time has been cut short by the extended Rakes' set or not, but in the end, it was just a very wrong idea by the so-called festival programmers to pair her with The Rakes tonight. Aftershow at the Truskel was a drinking affair, with a few cool moments notably with a little improptu pas-de-dance with Alan from the Rakes. Must have danced a bit while drank, goodbye to Camille and the lot and then off to take the nightbus in Châtelet. However it wasn't quite the end of the night, since the bus wouldn't drive outside Paris because of the riots (even though they were absolutely non-existent down this side), so in the end I had to walk from Porte d'Orléans to my place. So know I know, it takes exactly 55 minutes to walk from Porte d'Orléans bus stop to my door. At a steady but not too fast pace. At least it was before the weather turned shit and my ankle got bad. Oh well, a mixed bag of a night then.

Franz Ferdinand+Editors               Le Zénith                28/10/2005    ***

It was always gonna be disappointing, going to see Franz Ferdinand so shortly after a gig I enjoyed as much as I did in St Cloud at an outdoor festival. As for Editors, I'm glad I missed them last time around, because I'm not sure I'd need to see them twice. Anyway, Zenith is never my favourite venue, far too big even if the sound is good and I once had a very good time at a Strokes' gig. So Editors to start with, I was very impressed with their sound. I mean, the acoustics in the Zenith are always impeccable, but the sound there had a loudness and clarity, in the vocals too, that I found absent in the later Franz performance. As for the gig itself, however good they are, Editors are still a bit sub-Interpol in a way, and don't have much originality going for them. Some songs are very good (most notably Munich), but others are overrated (Bullets), and while All Sparks is another enjoyable number, and they do make an awful lot of pleasant noise in some song endings to make them slightly more interesting than on record, they don't seem much of a live band and lack a bit of apparent passion or even just charm. For instance, the surprisingly popular Fingers in the Factories sounds like its rhythm section comes straight from The Rakes, but there is no Alan to focus the scenic attention. All things told, not a bad performance, but not quite what I demand in these days of going to many gig: it's a bit like listening to the album, only much louder than you normally do when you've got neighbours.

Last time I saw Franz Ferdinand, they started with an 'old' (well year-old) classic tune (Michael) that was immediate to get into. Not so this time, when new tune This Boy is as confused as they get. Hard to get excited straight away, even with the presence of fifth member Andy Knowles who appears to play the keyboards on quite a few songs tonight, compared to only one in the summer. Anyway, the slightly more quiet Come on Home then allows me to get as near the front as I can, but as is often the case these days (see Dirty Pretty Things, etc.), the crowds are bit too dense to really have the space to enjoy your dance moves. It's more about fighting for your little corner most of the time, which is a bit of a shame. One thing that's striking tonight, is that, despite trying to put on their bravest face, the band don't seem to be having as much fun as last time. The smiles are too contrived and too rare, and there's a feeling (from me at last, talking to other people after the show it's not that obvious) that communication doesn't really come through. Maybe it's because this is the place they had a punch-up last year. Maybe it's the fact that Alex Kapranos is after all the only frontman of a new successful band who is older than me, so he can't last the same pace as the young whippersnappers around ? Anyway what really buggers me tonight, is that he uses the exact same jokes and song introductions than in the summer : 'et maintenant, monsieur Nicholas McCarthy au keyboard' before Auf Achse for instance. A funny thing tonight is I suddenly realise that Mr Kapranos does indeed look a lot like Jacques Dutronc, hence the joke at Rock en Seine (which he thankfully doesn't do again this time for once) now making sense. There's some good or interesting moments, like when Paul Thomson steps out from behind his kit (to be replaced by Andy Knowles) to play the guitar for the lovely Walk Away, but even then, instead of beaming and grinning, he just looks like a spoilt brat who got his wish of playing front of the stage after too much whining.'This is my favourite song of all time, from 1964'. I was half-expecting a exclusive cover version of some old classic, but no. While it's not the exact same joke as in the summer, it's still along the same lines and simply introduces their breakthrough hit Take Me Out. That's not very modest either, is it Alex ? The Fallen  is an OK-ish kind of song, but has too many words in it, and tonight suffers from the rather poor mixing of the vocals, who can barely be heard nevermind distinguished most of the time. Appalling. The only truly exciting moment tonight comes on one of the most immediate moments from the new album, You're the reason I'm leaving, when a frantic pogo suddenly develops from seemingly nowhere (oh, for the whole of the first chorus at least) and everyone seems to be having fun and there's a bit of space. It also leaves me nearly sick and catching my breath, after another stressful week at work (it's friday after all) and too many cigarettes too early in the night. I also get a little scare when I get thumped on the head, but it seems like my spine's healed OK now. Apart from that, the show goes on with very little surprise. Are they tired ? Alex is posing a lot, but doesn't smile. He should cut his hair too. Bob's never one to laugh much but he looks paricularly grumpy tonight. Nick doesn't have his permanent grin on, and well, 40' is another song that would probably be best enjoyed if you hadn't seen them perform it at Rock en Seine. I mean the extended break with band introduction etc. is nice once, but a second time it's frankly underwhelming. Especially when he does the same jokes again, what with Paul and his 'grande bite/beat'. Oh deary me! A classic Darts of Pleasure finishes the main set. When they come back for the encore and play the first bars of Jacqueline they are smiling at last, even Bob, which is a welcome relief but it's not quite the festival vibe we had this summer. A furious Evil and a Heathen follows before one of the highlights of the night, with Alex briefly taking over keyboards duties to start outstanding disco track and album closer Outsiders. Tonight, it gets an extended treatment, with Knowles and a roadie joining Thomson to have a few hits on the drumkit. But yet again even these don't seem to be having as much fun as they should, and as a spectable, it's not quite as compelling as Arcade Fire's drumming antics for instance. And this should have been that, with this cool yet unusual finale closing the show. Or at worst they could have come back for another encore if they really needed to. But instead they elected to stay on for This Fire (haven't they read the news ? 'this fire is out of control, we're gonna burn this city?' Bloody hell, inciting riots in Paris right now, if Sarkozy'd been around and he understood English, you could have been arrested and instantly thrown out of the country boys!), which was maybe expected but very uninventive all the same. It also had the perverse effect of making me feel like I'd seen the exact same show than at Rock en Seine when they finished with that one too. To be fair, the setlight was slightly different with the welcome addition of newies like Reason, Walk Away or Outsiders, but the fact that they finished the main set and the encore with the same tracks, the similarity of the inter-song jokes and the extended version of 40' made it all a comparatively disappointing follow-on gig from their summer performance, especially with their apparent fatigue and lack of joy tonight. If you had been at Rock en Seine, you were bound to feel let down. And those who have planned to come back for the second night the next day are in for a massive disappointment (and I heard that confirmed weeks later). Unless they're blind. Or deaf for that matter. Me I just got bored tonight. But yeah, fair enough, if you hadn't been to ReS, and from some reactions I heard, you could possibly come out of it elated. Relatively disappointing.

The Magic Numbers+Sebastien Tellier         La Maroquinerie    25/10/2005    ****1/2

Better not spend too much time on Sebastien Tellier. I arrived at the venue during his gig (I was in no rush, didn't even know if there was a support band), with everyone sat down (no doubt he asked them), and well, he does loads of emphatic gestures and grunts loads of 'aaaaooaaah!' and 'wouuuaoooo!', but that doesn't make him a singer. Loads of sad jokes too, miming a blow-job while congratulating his stage sidekick, supposed to be funny ? No doubt he fancies himself as the new Serge Gainsbourg. But while I was never the biggest fan of Serge anyway, Mr Tellier can just forget it. Probably cool for trendy-ish parisian dandys, but no thank you for me.

Which made the contrast with the Magic Numbers rather impressive. No pretensions there, just amazing musicianship and good humour all around. I was gonna spend the gig at the very front of the stage but spotted Ed (Coombes, yeah brother of Gaz, plays footie for Stolly's) so moved a few rows back, which possibly slightly lessened my appreciation of the gig, but it was still outstanding. After exchanging a few tips on ankle injuries, spotting Jane Birkin and some Supergrass talk, the band came on, and to be fair, after a couple of songs I though : 'oh this will be very easy to review : same gig as in July but with a marginally better audience'. But it was soon to change. While the audience remained rather apathetic for most of the gig (I don't think people realise how much of a truly rocking band they are, so they mostly get people who still expect an acoustic folk love-in, the fools), the set itself was nothing short of amazing, and the choice of tracks completely bowled over what they last played (though I'd still have rather heard This Love than Love's a game for instance). It all surprisingly kicks off when someone in the crowd heckles 'you're the best thing since...The Beta Band!', so Romeo laughs and goes 'oh yeah, we'll do a percussion jam then next'. But instead they launch into their HElp/Warchild song, Gone are the Days, which feels like an instant classic. Next is a b-side to their next single, and while it's arguably the weakest track on show here, it's also clearly indicative of a harder, fuller sound, thus confirming them definitely as a rock band, no matter how people see them. Next one is another unknown gem, their 'oldest song', Anima Sola, actually available for listen on their own website, and it's frankly good. I see you, you see me seems OK-ish in the middle of that, but to enhance the setlist further, they then play Close your Eyes, their contribution to the latest Chemical Brothers' album from very early this year. Now I haven't heard the original, but I wonder what it sounds like, because here it's just another great Magic Numbers song, and also showcases that harder sound mentioned for the B-side earlier, but with a better tune. The first genuinely great moment of the night comes once more in the form of Hymn For Her. Such a delicate tune, starting with some wonderful harmonies between brother&sister Romeo and Michelle, to give you the chill and form tears in your eyes, before the chorus sends you into another blissful ecstasy. This could end the evening and send everyone home happy but there's a lot more to come tonight. An awful lot more actually. The next song and single Love's a game, does sound very very anticlimactic after this (to be honest, it's just a bit too cheesy for my liking), possibly a bit boring, but it's the last slightly inferior moment of the evening. The exilarating Only Fools and Horses meets New Order moment that is Love me Like you closes the main set in stunning fashion, with everyone on stage and in front of it having a firm smile etched on their face. When the encore start, Romeo puts on an acoustic guitar for the first and last time of the evening. So expect some folk ballad ? Nope. Just the opposite indeed : 'this one I think you can shake your hips to'. And what is it ? Nothing less than a cover of Beyoncé's Crazy In Love. Yes indeed, funny as fuck and grin-inducing, this is a fulll-blown long version with everything fitting in and everyone here is now just giggling, sharing a happiness that's very rare to see at a gig. This is just amazing and there is no stopping them. The following Mornings Eleven neqrly sees moshing action, which is no mean feat given the static nature of the crowd tonight. Then Romeo suggests 'the next one you can sing along to'. Er, sing along to sublime three-part harmonies ? I don't think so. Anyway, Wheels on Fire  may unfortunately not be a Bob Dylan cover, but it's still beautiful. What next ? A full out country-tinged number rocks harder than ever and then they do what seems like the same rock-out bit as in July. They are perfect. They say they're really tired after the tour, but it really doesn't show, the smiles are here and genuine (Franz Ferdinand take note), and they simply don't want to leave the stage. So Romeo tries to get everyone to dance and cheeer out loud again ('Thank you very much, you've been quiet, it's nice but....', and they go on again with that rocking electrifying vibe. Compared to my previous gig with them, they rocked harder this time and are definitely miles away from the happy-clappy pop-folk people seem to see them as. After all, they're all self-confesssed Guns'n'Roses fans ! But the beauty is still in their absolute niceness (er, am I making that word up?), their complete non-marketing approach (second gig in Paris, still no trace of a T-shirt stall ? they'd have made a fortune on them!), and the true mastery they display in their art. Romeo basically holds all the sound with his fantastic guitar play while singing. Sean's a faultless metronom behind the drumkit, Michele holds the basslines tight and does some  solid harmonies on vocals, while Angela looks stunning and has a voice to make the hardest of rocks melt. Everyone's a happy bunny tonight, but I still say the Magic Numbers deserve a more rocking audience.

The Duke Spirit+Rhesus    La Maroquinerie 20/10/2005    ****1/2

A very empty Maroquinerie tonight, with a bizarre audience because it seemed like a lot of the people were in here for Rhesus rather than the Duke Spirit, which shows at best ignorance and at worst very bad taste. Anyway, after having waited a few minutes for John and Fiona who'd got lost in the area (they're not the first), we ambled downstairs, coming across Liela (the other Ms Moss and Duke Spirit singer) on our way to the bar. A few beers then while listening to support band Rhesus. A classic power-pop trio, with a girl on bass, decent-looking, good backing vocals but shit basslines really. Their recent single Sad Disco is the only song that stands out a bit here (it's actually quite good, a lovely pop tune to be honest), but other than that it's a bit unremarkable and the singer seems a bit pretentions.

Tonight was another case of a band not getting the audience they deserve, but it's true there hasn't been quite enough promotion done over here. Anyway with the very sparse crowd, I manage to convince John and Fiona to join me in front of the stage, as there wouldn't be too much pushing and shoving tonight. I was getting a bit too leathered to really recall the setlist, but I think they started with Dark is Light Enough, then a new one (they played quite a few new songs or songs not on the record tonight), then their oldest (Red Weather, from the Roll, Spirit, Roll EP, but it's also on the album). It's all good and with brilliant energy, with Liela contorting herself through most of the songs, and even playing the harmonica sometimes. 'C'est notre chanson pour...danser' before firm favourite Love is an Unfamiliar Name. Unfortunately, hardly anyone in the audience takes the hint, and the crowds remain rather subdued. They finish the main set with another set of  classics (Lion Rip, Cuts Across the Land,...  I'm sorry I'm not sure), before returning for a two song encore, with the haunting Bottom of the See and reckless Stubborn Stitches. They say thank you but hardly say goodbye which is a bit weird, and unfortunately I don't have time to stay on tonight to talk to them, but I love them and no doubt I'll see them again sometime soon, hopefully in front of a more receptive audience. Tonight it just felt like a great but bizarre, slightly unfulfilling gig.

Dirty Pretty Things+King Biscuit Time+Stuck In The Sound    Le Triptyque 18/10/2005    ****

The announcement of Carl Barât and his new band in town for the second edition of the Poptones Club night in Paris was sure to guarantee a sudden surge in demand and a packed venue. Went there on me own for once (though I did meet quite a few familiar faces once inside), so set up for the long queue that thankfully went quite quick (so better organisation than the first time, although more on that later regarding the bouncers). And there was never really any question that the other bands on the bill tonight would be in for a rough ride. Anyway a quick hello to Gary Powell (drummer with the Libs, and still drummer with DPT), the nicest man in rock, who remembered me from last time in the same place some three months before, which I found both nice and truly amazing. So first band up : Stuck in the Sound. People seem a bit harsh with them. Ok it's not all remarkable and there are some dud tracks in there, but I think the Aphex Twin lookalike bass player is particularly good, and so I feel obliged to congratulate him about his lines later on in the evening. They're not the future of rock'n'roll by any means, but they aren't too bad. A few vodkas later, it's just a quick hello from me to Alan McGee who just thanks me for my support (wtf). Anyway Steve Mason and his King Biscuit Time are on next, and are not given the warmest of reception. It's hard for them to fit on that bill, but Steve Mason takes it all well, and you can see where he's coming from, this is not the biggest of departure from the Beta Band. There's various influences, a truckload of cool grooves, and all good if you get in the vibe. Which most of the narrow-minded people here struggle to get, especially the twat in a flat cap in front of me. Steve's on his own on some of the tracks, accompanied by a couple of competent band members on others, cracks a bizarre joke or two (or is it a joke ? he says he covers the French entry for Eurovision in nineteen-seventy-something, but it's all in English so I doubt it)  and plays his latest single CIAM15 not to rapturous applause but it doesn't matter it's still good.

The playlist before Dirty Pretty Things is nothing short of amazing, with the unavoidable Undertones' Teenage Kicks, and then DFA1979 (their cover of Luno but also Black History Month), Bloc Party. (Banquet), The Von Bondies (C'mon C'mon), The Subways (With You, it took me a while to nail that one down, I forgot they had a few very good songs!), Joy Division (Transmission), The Rapture (Sister Saviour), Supergrass(Caught by the Fuzz), The Others(Stan Bowles), and QOTSA(Little Sister), before the room darkens, and Carl and Anthony (Rossomando, guitarist) take to the stage for a few acoustic tracks. Acoustic obviously doesn't stop heavy moshing straight away with the first bars of Can't Stand me Now (a particularly brave version), then Time For Heroes (the crowd goes wild) and the more quiet France. Then Gary and Didz (the new man on bass, ex- from the amazing Cooper Temple Clause, today wearing a tie and leather jacket he won't be able to hold onto for long in the heaving atmosphere) come on and they play a couple of new songs, that don't seem like such a departure from Libs fare, but still warrant a raucous reception. There's a good atmosphere on stage, the front three are swapping position all the time, singing in each other's microphones, Carl lets Didz sing lead vocals on some song and it's all messed up in the audience too. The setlist consists in a mix of Libs songs and new songs (still mostly in the same mould, though there's a slightly reggae-ish number in there too, but hey even Pete does that nowadays and it seems obligatory this year to have the odd reggae or ska-tinged song in your weaponry), but there's not much interaction with the crowd. In a very strange move, Carl introduces Anthony and Gary, even though these two were already in the Libertines (Anthony as replacement guitarist for Pete), but surprisingly not Didz ?!? It's a riot down there, especially for Death On The Stairs or Boys in the Band, but the bouncers are removing anyone caught crowdsurfing or stage-invading, and as I found out later on through somebody I know, they're chucking them out of the venue and not allowing them back in (one even ended up in the police station, due to not having his ID on him, well yeah, of course : it was in the bloody cloakroom, you twonks ! common sense definitely not a word well-known by bouncers and cops alike). I'm choking in front of the stage, the new songs are good, and the expected finale materialises with I Get Along and everyone goes into a frenzy. I nearly feel sick and it's time to breathe a bit while the floor clears up, while I reflect on the gig and consider my options for later on. On the gig itself, I wasn't on the best of form and it was a bit too dense up there, and the crowds were just senseless and would have gone mad whatever was being played anyway. But the remaining feeling, is that while Carlos is very good and has got  quite a few decent or possibly great songs in him, Pete was still the unruly charismatic genius that is sorely missing here. And that's the paradox. While Carl undoubtedly helped get the best out of Pete (as his so far patchy output with Babyshambles shows : great song potential, total lack of application), and still managed to hold on bravely to the Libs as a going live concern for some months after Pete being asked out (which most definitely was a painful but totally right move), and Pete also acted as a crucial foil to Carl's ambitions, Carl without Pete still needs time to grow his own niche, and all the people willing him not to depart from Libs-type stuff may end up hindering his progress. I know quite a few people who are happy to slam Pete while praising Carl, but once more it only seems to be a comparative thing because they think Pete's just a wanker. Anyway, yeah, give them time to grow out of the limelights and Dirty Pretty Things might shine on their own. But for now, this was a slightly bizarre experience, nowhere as enjoyable as even the Libs without Pete back in La Boule Noire the year before. Wait and see.

As for the rest of the evening, they played New Order far too early, and anyway I had to work the next day, so no hanging around, especially as all the people I knew were leaving too. So it was night bus again, and I reiterate what I said : the new system is a mess, it's expensieve for the suburban kids (even though it seems to me like the main point of these is for non-parisians), it's slow, and the ticket inspectors are proper cunts. Tonight, a Swedish kid was possibly taken to the police station because he didn't have money or an address in France (he was just here for a couple of weeks). Surely the ten or so minutes of hassling and lecturing were enough to piss him off for the next time.... Dickheads!

The Dead 60s    Black Session(France Inter)    3/10/2005    ***

So what's a black session ? Basically 90 minutes of waiting for a 60 minutes performance. On the menu tonight, the Dead 60s. By reviewing the gig, I'm practically reviewing the album, because my idea of them hasn't been changed with this. Although I've got to admit they're probably more enjoyable as a proper actual gig. Not blogging here, so I'm quickly passing over the Bernard Lenoir introduction, just mentioning they're rioters or something, and because revolutions cannot be made will seating, will please everyone stand up for the Dead60s. But more about that later. So what have we got here ? A quarter with not very much of an identity except the compulsory Fred Perry polo shirt (well at least the guitarist has one, the others sport different makes). Lanky guitarist with louche attitudes who looks like a cross between Richard from Hi-Fi and my mate Vincent (and funnily enough plays the guitar and the keyboards a bit like him), drummer who's a cross between Preston off The Imaginary Boys and a Monkey (or the King Monkey ?), a singer who's well, not looking or acting like a major image bearer, and a tall bassist who looks like any old scouser to me, maybe I've seen him play in another band, or maybe I've just seen him on a football pitch. So to the music. While there's no denying that they play a tight sound and a compact enough set (at times), with no fret-wanking, the trouble is, they've only got roughly two songs. They've got the fast nervy ska-ish rocking one (but nothing original there), and the slow reggae one. And they mix the two togethers in songs. A riot ? Hardly. And when they do their reggae stuff (all archetypal guitar effects and stuff), they look more like people who've had too much to smoke rather than battery-crazed rebels. And as anybody sane knows, no revolution has ever been started by people stoned off their mind. The Clash ? Oh don't be silly ! Still, they have good bits, and nothing's like too off-putting. Funny moment halfway through the set when their roadie passes them a note saying 'Pad it out ! Your to fast (sic). 30 minutes left' and they duly indulge into an extended outro (but of the fast and furious variety) of one of their songs. And while I recognise the tracks from the album on the spot, I couldn't tell you in which order they play them, such is the uniformity of the whole set. Only once or twice do they do something a little more interesting, one album track (can't be arsed researching the song right now, but it may occur to me when I listen to the album again for review) and another one (probably a B-side) that's played near the end of the set. Oh, and asking people to clap from time to time is OK, but seeming to cheer for yourselves doesn't feel quite modest enough (although they don't speak much and the singer seems nice enough to be fair). There's an encore due to popular demand, but since they acknowledge that they've played all their stuff and 'don't know any other song' they get to play current single Riot Radio again, feeling more relaxed this time perhaps. Verdict ? Well, if they don't put a bit more of themselves into original songwriting, success will be a very very short episode for them. And as it stands, neither their music nor their image is strong enough to warrant popular or critical acclaim.

P.S.: I am actually amazed that they seem to be getting a bit of either at the moment, since it's clear that the so-called 'summer of ska' went dead before it even started, what with The Ordinary Boys just erroneously bandwagon-jumping - their first album proved they had nothing to do with the genre, and Hard-Fi being not at all a ska band, it's only really the Dead 60s, and they're nowhere near interesting enough certainly yet.

The Mardous+Sourya                Le Batofar  22/9/2005    *****

Some gigs get 5 stars because they're amazing, some because they're just what you need on the specific evening. So with this one, a short one, but just what the doctor ordered. I arrived early-ish enough in an empty Batofar, quietly sipping a beer and  casually lighting up a fag until Ben from the Mardous popped up. So I joined him and Ross (and the fangirls) upstairs, for a quiet conversation, Ben mostly drinking (and strumming his guitar, that was just lying there on quayside), Ross smoking a fag or two but staying reasonably sober (well after the few days they've had), and me well smoking and drinking this time. So just talking about their little stay in Paris (Sacre Coeur and Père Lachaise au menu, classic but enjoyable on a very sunny midweek break), this and that (yes I did forget that Ross actually meant Peninsula in Scottish), and a lot of nonsense with the girls. Trying to get away from them (you know, a little bit is funny, but too much can get really annoying), we sneaked back into the boat, Ross even getting me a beer from their rider (cheers!), and proceeded back to the upper deck, talking with Ben more this time, about Scotland (Aberdeen), record labels, their drummer leaving soon (he wants to sing and play the guitar rather - though he's very good at the drums I must say), and well this and that again, just a quiet chat (having fun with the little fishes swimming down there too). Then it's time to check Sourya who are starting their set downstairs. What can I say ? It's OK, but not especially memorable; there's a guy with a laptop, but he doesn't really add much to the beat, until the last song that's actually their best. For some reason it's sung in German (a tribute to the Robocop Kraus ?), with a very strong French accent, and eventually turns into a technoid beast (now the laptop really makes sense) that's far more interesting than what they've played before; Guys, I think you should try more in that vein, because the market for random (French) rock'n'roll is quite congested I'm afraid. Unless you really stand out with great songwriting. Which is where the Mardous come into the equation. So a few words with them (drummer included this time, he's got to set up his own kit, no tech for them on this trip) before a 'good luck' and I'm right down the front for the gig. 1-2-3-4 and they're off. I'd checked their site the day before to get more familiar with the tracks that weren't on the single, but even the ones I don't know still ooze quality. They keep it tight, the riffs are extremely enjoyable ('that was a great riff Ben!' 'oh, thank you, it's Ross' anyway!'), and Revolution over the Phone is a truly addictive single (I couldn't get it off the car all day!). Ben, in suit and converse is unimpeachably cool, on the stage just like off it, a very affable character, chipping in with the occasional backing vocals too, while Ross is more worked up and drives the songs with his compact bass lines and faultless singing, while Lewis keeps the ensemble right on time in the background. Popsong closes this short but enjoyable set, and it's time to congratulate the musicians. A big hug they so well deserve, I hope they can grow on to better things. We meet outside (a bit of fresh air is welcome, despite the place not having been too heaving or packed (well I didn't look behing while I was watching the band play, but I certainly wasn't pushed onto the fences), for a last few words (Lewis said they left their bags in the Shebeen, so we talk about the sunday league pub football, he says he'd love to play if he's there one sunday this winter, we also talk about his departure, he says he feels a bit sorry to leave them now but he really wants to sing and play guitar, so he has to), and since the band's about to leave, and I have just enought time to get the last train home, I act the sensible man for once and leave too, we promise to keep in touch via MySpace. I get my train home, perfect (hence the 5 stars), and put Revolution over the Phone in loop for 20 minutes as I go to bed. The surprising thing is I don't fall asleep before the 20 minutes for once, meaning I'm either not drunk enough or I'm too hyper or simply I love the song too much so I want to hear it again.

P.S.: my computer broke down this week-end, hence a slightly delayed review (but there's no rush, I haven't got any gig planned for a while), but guess what ? I already got a message from Ross via MySpace. They're such nice blokes the Mardous, I hope they find another right drummer too. Give them your support (and buy their single), they're really worth it. And no I don't get any perks for the job, it's just that I really like their music, and I really like them too.

Editors+VHS or Beta        La Maroquinerie 22/9/2005        N/A

See below, for the reason I didn't go. Oh well, I'll see Editors a month later anyway, and tant pis for VHS or Beta.

The Paddingtons+Client+The Parisians    Le Triptyque    20/9/2005     *****

First things first, credit where it's due, The Parisians were much better than I remembered them. Actually, first things first, I nearly forgot this is turning into a live blog now, so let's start at Café Croissant, shall we ? Well, just a few drinks and a salad before queuing for ages. Doors were supposed to open at 9.30, but it must have been about 11 when we got in. I blame it on the bouncers, security at this venue looks distinctly rubbish (see below). So by the time we got in, The Parisians were already playing, although judging by the length of the set they must have only started. But first a stop to the loo, noticeably only by stumblin upon Sarah and Kate (from Client) checking themselves in the mirror. I just refrained from saying 'don't worry Sarah luv, you look gorgeous' and point at my Dubstar T-shirt, because I didn't wanna look like a tosser so early in the evening (and no, don't you worry, there's just a common part to the toilets in that venue, I didn't go through the wrong door). Anyway, back to the gig, I found the Parisians quite competent tonight, some good guitar lines, a good sound, and better songs. I don't know if it's the departure of their posturing (ex-)bass player that makes them appear like a tighter unit (there's a song dedicated to 'the people I dislike, I know there's a few in heretonight'), but while they're still very much standard Libs-inspired garage rock, and missing something of the X-factor about them, I'm rather enjoying their performance tonight. OK the songs and the gigs itself were a bit too long, but they've changed from pet hate to not irritating. Meanwhile, Karim got the chance to chat to one of his favourite bands (Pravda), that he was gonna see the following friday. The music that was played tonight between the gigs was nothing short of amazing (compared to anything you normally get in any club), so before Client we get to hear The Rakes, QOTSA, The Others, The Kills, Bloc Party., DFA 1979 and some more of my favourites really. A quick dash to the bar (time to switch to vodka, beer's getting to heavy, thumbs down by the way for the outrageous price of drinks, I mean you can't get free bar everytime, entrance fee was low, but 6€ for 40cl of Kronembourg, 8€ for Foster's, 9.50 for vodka is just ridiculous), when a fortuitous meeting happens : I just bump into Ross from The Mardous (well he was just giving away flyers for their gig on thursday, so we came to talking and I told him I was supposed to go to another gig on that day, he told me he was in the band), and I suddenly remembered that by some bizarre inspiration I had their latest single's cover at background screen on my phone. So he was like 'wow, I can't believe that', notifyed Ben (from the same band), and well, I had to change my plans and decide to check them on thursday now, innit ?

Time to go back towards the stage, closer this time to see Ms Blackwood and Mrs McGee take to the stage in sexy air-hostess uniform (+leather gloves for Sarah, but they're really not quite electro-perv or S&M at all), backed by a guy who looked a bit like the keyboard-player from The Radio Dept. In it for the money (not a Supergrass cover) started the show in a decent fashion I think (though maybe that came later in the set, bear with me with the possible inaccuracies), next came : 'This is for all you Libertines fans, this is for Pete', so 'Down to the Underground', without Pete ranting on it of course (and backing vocals from the guy at the back were suitably muted). Then they played the only inferior track of the night (Client). By the way, having followed both Dubstar and the short-lived Technique, it was only natural that I would get drawned into Client, who are a pretty good mix of both, especially live. A little break while the Paddingtons+crew wallked through the stage, and after that, I've got to say the setlist was spot on. One after one they played all their best songs : so Price Of Love (the first single, still slightly reminiscent of Visage's Fade to Grey, Radio (the brilliant opener from their second album), Here and Now, Rock and Roll Machine. All smiles on the stage (in reference to the Dubstar days -the fake eyelashes are still there after all- you still can't quite make out if Sarah's sinking kitchen sink or kinky sex while she's singing), the girls look very happy and Kate's a perfect pop keyboard queen, adding all the lovely tuneful bits with glee. When they finally launch into Pornography, you just really wish Carlos was there to enhance the song (it's just not the same when not performed as a duet), but instead a couple of the fangirls get on the stage, one just merrily  dancing around and turning the mike away when offered it, the other absolutely ecstatic about doing the 'lalala' bits. So game over, and considering that there are quite a few uninteresting tracks on their albums (that doesn't mean bad), the set is possibly only one song or two short of perfect (maybe Sugar Candy Kisses instead of Client ?), the right length, very club-like (once more, if there was no-one onstage, people would happily dance along rather than just watch), and hopefully an indication of better quality control for the next album. Honestly a very very happy and thoroughly satisfying performance.

More ace music at the interval and then it's time for The Paddingtons. After a quick hello to fellow Others-forumite 'hole', I end up even closer to the stage this time. The gig was brilliant last time when I didn't know them much, it was even better this time. Launching straight into Some Old Girl, the Padds were on top form, stand-in guitarist Stuart fitting in seamlessly for the injured Marv.Constant mayhem (50 to a £, Sorry, every single one's a winner really !) beer spillage (Ben from the Mardous, suitably wasted throwing his not completely empty glass at Tom who spotted him straight away), and a very messy stage invasion during Panic Attack including a little stage-diving from Seb (last caught on camera in his infamous jacket a few months earlier in the same place). Until security intervened and kind of spoilt the fun really. From then on, the Paddingtons had to perform the last few songs (Molly's Lips included) fronted by two huge bouncers. Tom did the decent thing for a moment, standing on a monitor so that we could actually see him. So there wasn't too much crowd-surfing and stage-diving (which was probably good for my aching spine), security weren't nice at all, but it was still an ace performance. I think the Yeah Yeah Yeahs' Date with the Night was appropriately the first post-Padds song played, followed by the suitably chilled Ian Brown's F.E.A.R.

Drenched T-shirt, all the movement and drinking, I wasn't feeling too clever after that gig, but still eventually got into another vodka to sober me up. And well it worked. Kind of. So after a long-ish recovery period (while Mr McGee was on the decks playing some more great songs, Smiths, Hives, many many Libertines tracks), when I just didn't feel like dancing despite the music (to be fair, I was tired to start with that evening, so I knew it could be one of these evenings when I don't really have an up and up trajectory and not remember everything), I got talking and moving again. Time for a couple of drinks and a bit of socialising while great track after great track was still being played in the background. Funny thing also with the permanent camera pointing towards the stage and broadcasting on several screens in the venue : you could clearly see someone skinning up live on TV. Careful, mate ! Choice conversation with Lloyd from the Padds. " - great gig mate, cheers, I was there a couple of months ago in Paris, it was great, this time it was even better. - ow, thanks a lot, cheers, what's your name ? - I'm Ollie, nice to meet you, - My name's Lloyd, nice to meet you. So you're in Paris now, but where are you from in Britain ? - Well I'm from Paris. - Oh fuck, seriously, I thought you were a Brummie. - oh well I studied for one year in Birmingham but that's all. Do I really sound like a Brummie ? -yeah, honestly, I thought you were from Birmingham. -oh well, nevermind, cheers, nice to meet you", more laughs with Ross and next is New Order's Blue Monday always a massive crowd puller and a chance to give Tom Paddington (always use band's names for second names, it makes things a lot easier) a big hug, he was really chuffed, congratulate Josh and Stuart too ('Stuee mate, you were great!'  while Boys Don't Cry was playing methinks), I know it all sounds a bit fanboy, but when you get the chance to say thank you to the artists after a great gig, why resist ? Alan McGee left the decks eventually and the standards of music played dropped dangerously (Smell like Teen spirit is great, but you get a feeling it was just a French student's favourite of the 90s, especially when it's followed by Depeche Mode's just can't get enough, oh dear). So time to get back for a beer with the few remaining coins, and the proceed to give Alan McGee a 'lifetime achievement' hug. Yes, I did. He was very pleased with the way the evening went (650 people in apparently), I asked him about the Special Guests for next months' do with King Biscuit Time but he wouldn't say (so what then ? The Others ? Carl Barât and his new band ?)... I've gotta say, when he's behind the decks or when you just see him first time, Mr McGee looks like one of the least likely person to win a 'best grin' competition, but he looked quite allright to me (I didn't have a long conversation it's true), and in anyway, with all the bands he unleashed to the world (as head of Creation and now Poptones) and the fantastic music he played as a DJ tonight, he was well worthy of his hug. And I think I'll have to be back on October 18th then. A trip back to the emptying dancefloor for some decent music (I said the standards dropped, but there were still a couple of decent moments), until at some point, while music was still being played, the last two persons on the dancefloor were actually the bouncers. Dancing and partying like a couple of people enjoying themselves at the end of a night's work ? Erm, no, just preventing anyone from entering the said-dancefloor. So well, time to leave, and I've got to say it was another brilliant craic, cheaper booze and more friendly bouncer would have made it just perfect. Took the rue Montmartre the right way this time, got the night bus home, and I have to say the new night bus system in Paris is just a shambles, I'm sure a lot of people ended up miles away from their home, and I think it's just another sad PR operation. I mean, before, I knew I would get a J bus at 2.30am, 3, 3.30 etc.and people who would want to go in the same direction but further than mine had these J buses too. Now I can take N12 and N14 (bus stop only 20 metres away from the old one so OK), I took the 4.36 N14 (or was it 21), but before that it would have been the 4.14 N21 or something. And if you want to go to Massy-Palaiseau now, you've got to take a completely different route at a completely different stop. Oh well, we'll get used to it.

 

Festival Rock en Seine : Franz Ferdinand, Foo Fighters, The Film, Babyshambles, The Departure, Goldfrapp  Domaine de St Cloud    26/8/2005 ****1/2

Very nearly 5 stars, and yet so much closer to 3, well yeah, it was that kind of day, saved by a Babyshambles anthem and a festival-stealing show by everyone's favourite band of last year (and probably next). Although I deeply regret missing out on Robert Plant, who was apparently great and played a few old Zep songs.

No need to rush today, no band I really want to see early on, so I just scribble on my jeans and the back of my T-shirt and set off for St Cloud with my camera this time. The weather looks fine, we're all set for a good day ! Updates on the cricket score via text thanks to John helped the mood too (England 477 all out, and Australia 99 for 5 at close of play feels fantastic, dunnit ?), and we start the afternoon with a couple of quiet beers, slouching on the sofas in the Heineken lounge while Asyl are playing in the background. From that distance, they just sound like a heavy metal French band, but obviously I haven't got a clue. So we head for Scène de la Cascade for Goldfrapp, who starts her (their ?) set with Train. After that, well, I hardly know any other Goldfrapp song, do I (I'm surprised I recognised that one actually) ? A bit of a disjointed backing band, a bass player who could be a Scissor Sisters reject, a keyboardist who's nearly as sassy as Alison herself (maybe cos we can't see her face?), a sometime guitarist, whatever-that-instrument-held-like-a-guitar-but-is-a-keyboard player who looks like a cross between Liam Gallagher and, erm, Demis Roussos (with added pink PVC jacket), and a couple of backing dancers, who appear first as scantily clad wolves (more perv than sexy really), later with horse-masks (Van Nistelrooy anyone ?) and finally as harem-dwellers (just made that word up, didn't I ?), the point being you never see their face. Alison's blonde locks and black costume take the front stage, she apologises that she's got a sore throat so may be out of tune sometimes, there' a minor technical hiccup with the keyboard and....oh the music ? Kind of electro, OK, not especially remarkable, not bad either, but it just passes me by. So next up Babyshambles. Or not ? I blag my way to the front of the stage (well, about one metre from the fences), when rumours start gathering : Babyshambles would be playing on another stage..or would they really ? The unpredictable is so predictable with Peter D these days....Anyway so out for a slash, then meeting some other friends, rumours are confirmed when a guy takes the microphone to announce : 'there's been a change of programme, Babyshambles will play later on the Scène de l'Industrie, The Departure will be playing here now'. Cue massive exodus, but we decide to stay for some of the Departure's set, the timeslots and locations have just been swapped after all. Would have been easier the other way round, but at least we got confirmation that Pete was definitely turning up if only late. So the Departure take to the stage, David Jones, army jacket and shades on announcing with a big sneer 'We're Babyshambles!', nice one, quite funny. They start with first single All Mapped Out, and then well Dave Jones pushes the 'let's take the piss out of Pete' button a bit too far for my taste, with two further pronouncements : 'We were supposed to be playing a smaller stage, but thanks to Doherty's fucking predictable no-show we're here now and we're gonna make the most of it', or something along these lines anyway, alluding to a possibly Shambles cancellation, but I guess it's just that he was trying to keep the less informed people from fleeing the stage midway through their own set. So another song, then another dig : 'Yeah I want to thank Pete Doherty for being such a knob!', he may have made an eBay joke on that too, but I'm not so sure. Anyway, a few more songs, they sound alright, but not very much different from the album (I'd been told better things about their live sound) and we leave during personal favourite Arms Around Me. So to the main 'attraction', starting a long way from the stage but knowing full well that once the gig would get going, there would always be a chance of making it to the front. First announcement : 'there's been a change of programme....', here we go again, erm, no! Whether that was an intentional joke or just common sense (after all there may have been people who thought they'd just arrived in time for The Departure's show), the announcement was just to confirm the swap. Tension mounts, expectations increase, another man comes to the fore at scheduled gig time : 'Babyshambles will play in five minutes, five minutes'. Whether Pete's late (he certainly was) or just smoking a pipe, he eventually makes it to the stage, possibly 10 minutes after the announcement, looking rather haggard and frankly out of it. There's instant mayhem in the crowd and during the whole gig, with some people seemingly intent on just creating havoc. As it is, there's enough sensible people to like, make a circle around people when they fall (fuck knows how many people ended up on the floor at some point, whoever had the brilliant idea to put a little bump going right through the middle of the field in front of the stage is a fucking cunt!) so nothing bad happens (just a few more bruises for me, and amazement at the fact that I kept both my shoes). It's highly debatable whether everyone's here for the music or for Peter (you get a 10-year old in a Lille top crowd-surfing), but whatever songs the man plays it hardly seems to matter. Which is a blessing and curse, because the set itself is more remarkable by the songs that aren't played (no Killamangiro, no Gang of Gin, no Libs song either) than the songs that are (but they still play Stix and Stones, The Man Who Came to Stay). After only one song, Pete tried to mumble a few words, realised he couldn't speak at all, so stuck to singing which he did quite well. Also I don't know if it's always the case since this was my first Shambles' gig, but at no point did he pick up a guitar(didn't they soundcheck an acoustic?), mind you, he probably felt he couldn't play. Short gig really (well he was late, and you can't really play beyond your allocated time here), but the final song and latest single Fuck Forever came out as the perfect festival anthem, first real defining moment of the two days if you ask me, but then I'm biased, ain't I? A brief appearance at the side of the stage after the gig created more mayhem, a fence going down (just seeing the guests behind then, like The Parisians), a little scuffle involving the bouncers, Philippe Manoeuvre nearby (Didn't spot many celebs anyway!), people trying to follow Pete, that was a bit too much of a zoo, so time to move on, T-shirt absolutely soaked, so let's have a beer somewhere on our way to Foo Fighters. Foo Fighters ? Well, I didn't really care much, and I was certainly not going to go anywhere near the stage, I needed a rest. So I watched the start of the show from a distance, too much Dave Grohl screaming, too metal for me : pass! I went to check The Film instead, picking up a pint on the way. Guitarist sporting the Blues Brothers look (shades included though he did take them off later), lead singer playing the bass and looking like, I don't know, like the girls would fancy him I suppose. And : 'we are the Foo Fighters! Dave Grohl on guitar!', erm, OK, cheers guy, methinks you've been watching the Departure a few hours ago, but the same joke doesn't work twice really. A few songs in : 'this one is not in a commercial or anything', I didn't know why they said that, I thought it was just to say that they're not selling out to ad men, but it struck me a few songs later when I recognised a song at last, that they do have a song used in a car advert. Well, anyway I thought the set was just about OK, but I'm leaving rather underwhelmed during that car ad song, they're not really my type of film then. Good opportunity then to pick up another beer and a kebab on the way back to the main stage, where Foo Fighters were finishing their set. I found that rather better than when I left them, and some people told me that after the metallic start it was all very good and that Dave Grohl could actually sing. Oh well, so maybe I missed a good set, I know some people still say that if you like QOTSA you must like the Foos, but I don't really regret having missed that. Anyway, the end of their set allowed me to go straight near the centre of the field and very close to the stage in a jiffy. Just enough time to socialise with the surrounding masses and have a little smokey treat. My T-shirt had had time to dry up, which was nice. Franz were bang on time, starting with Michael, cue more moshing, frantic crowd-surfing (throughout the set), another half-missing shoe, and someone falling heavily right on my head thus putting my already aching vertebrae to torture (I heard a crack in the neck, don't worry it's nothing serious, it's been aching since wednesday, it will go but I still feel the pain today). But back to the gig itself, Franz were in fine form, unimpeachably cool, Paul Thomson ('l'homme avec la grosse bite' - or was it beat, there's a clever pun behind that- as Alex later described him) starting the show, with the imperturbable Bob Hardy performing bass duties, and the front couple Alex Kapranos and Nick McCarthy impossible not to love. They didn't even have to affect all the moves like the first time I saw them, everything was easy, fluid, the sound was perfect, it was pretty much faultless. All smiles on stage ('Now I'm going to perform a song from Jacques Dutronc' - no they didn't), they even introduce an extra man on keyboards for their new single (apparently he normally plays in Alex's squeeze's band, The Fiery Furnaces). 'This is for the people who like the golden oldies, the hits of yesteryear' announces Alex proudly before Take Me Out, the second single that launched them into the stratosphere. Alex and Nick are happy to speak French. The fringe may be growing again, but Alex doesn't need it anymore (some funny banter between 'Alexander' and 'Nicholas' at some point before Nicks goes to the keyboards for Auf Achse). Nick McCarthy has still something very German about him (not just the accent), but he's got the smile and demeanour of a man who could sell you anything and you would buy, even if you were the rudest bloke on earth. They mix old songs (Jacqueline, Auf Achse- such a danceable treat, Matinée ? Every Franz song is a hit) and new songs : the insanely catchy new single Do You Want To - the moment it enters your head, you're done, too late, you're trapped, right now I can't stop: 'tup tudu, tup tududududududu, do ya do ya , do ya do ya wanna....'; another new one I'd heard, a couple of Franz-by-numbers and a song that right then sounds like hardcore-techno to me. 40 feet is the opportunity to have a little interlude with Alex presenting his band with various funny comments(see above - not that we don't know them of course, it's just the chance for each to have their name cheered), and Nick introducing Alex. They finish the song and end the main set with  triumphant first single Darts Of Pleasure. Encore is duly performed with one new song and a thunderous rendition of This Fire. I have to say, from where I was standing (levitating/being crushed/trying to keep my balance and surprisingly managing not to fall this time),the crowds were a little too dense,  there wasn't quite enough space to properly dance, which is a bit of a shame for a Franz gig, but I suppose that's the inconvenience of a festival crowd sometimes, and it didn't dampen my enthusiasm (my T-shirt, on the other hand was back to its spongy post-Shambles state). But a few metres back, boy were they having a ball ! I thought I wouldn't go to the Zenith to see them again in October cos it's too big and shit, but now I'm definitely going (and should Sarkozy get elected, maybe I'll relocate to Glasgow instead of London). The new songs should be more familiar by then, but for now this band really stole the festival for me. It will probably sound blasphemous to the Pixies-adoring masses, but hey I wanted to have fun, enjoy myself, not just stroke my chin in approbation. Yesterday (well it was 2 days ago now...) saw some solid performances and great moments (Arcade Fire's finale, QOTSA's riots and an impeccable-but-cold Pixies set), but today was a more enjoyable festival experience, with the Babyshambles freak circus and Franz Ferdinand's dancetastic show. So I did the not sensible thing : whereas this time I could easily catch a train home, I got to the pub for a celebratory pint. There weren't many familiar faces in tonight, but there's always one or two, so I was pleased to find (German) Julia and (Scottish) Davy behind the bar, and (Aberdeen) Steve sitting in front. Got home with the night bus, no problem, put Fuck Forever in a 20 minutes loop but fell asleep after not even the second play. Time for the neck to heal now.

(cricket is now Australia 218 all out, so following on, 32-0, they could be in for a real trashing this time!)

Festival Rock en Seine : Pixies, Queens Of The Stone Age, Arcade Fire, Athlete, The Subways  Domaine de St Cloud 25/8/2005    ****

Meeting up earlier than the previous years, it only took about 10minutes to get in, a massive improvement. Is it the rain ? Is it the line-up ? Sunshine appeared straight as we entered the site, there's a plastic carpet on parts of the field,  and The Subways duly started at 3pm on the 'Scène de la Cascade', which appears to be a new medium-sized stage, whereas the 'Scène de l'Industrie' (the small one) is located exactly where the Scène de la Cascade used to be. Confused ? Me too. Anyway, The Subways were better than I anticipated (their album doesn't chop much wood), got a frenzied reaction from the mostly teenage crowd straight from decent opener With You. I was slightly worried they'd overplay it when singer Billy stands on the drum riser on their first song to do a little jump, but after all they settle to just do music. The stage's far too big for them, and you'd expect more sexual tension from item  Billy and Mary-Charlotte (who can't really sing but that's another problem), but I suppose these things work better when there's no couple (see Alison & Jamie a.k.a. VV & Hotel). The gig's just good enough however (well Oh Yeah! is a decent song, but Rock'n'Roll Queen is way too twee) and suitably kickstarts the festival, despite the sudden outpour of rain towards the end of their set. There's nothing better to do when you are utterly drenched than lazy around listening to an Athlete gig. Well, nothing better for want of an option really, because while very nice people, Athlete are as boring as you'd have expected. The sun comes back -never to leave again today - and they claim we have to thank them for it, well I don't think so. Anyway, time to meet up with some friends before moving to the main stage where serious business is about to start. Arcade Fire are on soon, many people, instruments swapping, banging crash helmets, I'd love to see them in a closed venue, but they are truly brilliant and get us going. It's not just festival atmosphere, it's practically carnival. And the closing double treat of Power Out and Rebellion is just as good as it gets. a Joy to behold. Queens of the Stone Age appear with no guest star and unfortunately no Mark Lanegan this time (no Dan Druff either but that's hardly remarkable) and give a riotous performance including tracks from Josh Homme's side project The Desert Sessions. No Feel Good Hit of The Summer (can't do it without Nick I suppose), but a right rocking set, a lot of slipping around in the mud (no plastic carpet here, I found myself on the backside a couple of times), crowd-surfing etc., and I sure got home with a few bruises that night. Such was the ferocity of the set that I didn't even pay attention to the setlist (well, OK they opened with an amazing Go with the Flow, played a startling version of No-one knows, and also First it Giveth, and Burn the Witch dedicated to Pixies, but it was all rather a blur). Pixies finished the evening in style. Charles Thompson III seems to have slimmed down a bit, Kim Deal possibly too, but funnily enough, from where I was standing she looked like a dwarf compared to him (oh, and that orange jumper was very dubious....). Joey Santiago is still lean and mean (well Ok he's a bit flabby too), and Dave Lovering hides behind his drum kit and keeps the beats tight. They start with Wave of Mutilation (UK surf version ), and then you get all the classics (Where is my mind, Monkey gone to Heaven, Here Comes Your Man, Alec Eiffel -- I would have expected the crowd to chant the keyboards bits since there were no keys on stage, but no--, the list is endless), a happy moment on Vamos when Dave throws one of his drumsticks at Joey who catches it mid-air to play his guitar with then sends it back impeccably, and a complete non-interaction with the crowds. The music speaks for itself, you can't fault their set one bit, but I think there's nothing wrong with acknowledging your audience, is there ? Mind you, I suppose it's what the Pixies are about : a compact set, no fussing about, not even a thank you. They finish going full-circle with the regular version of Wave, and then inventually take turns to walk around the stage and thank the audience (audience in awe of them, and Frenchly going who-o-o-o-ho). Without even leaving the stage, they concert, agree to do one more song (how improvised or not this was, I'm not so sure), Kim making gestures like she's got a sore throat (oh yeah, you knew exactly what they were going to play there, there was never any doubt) and they close the set with Gigantic. No chance of a punch-up between Kim and Charles tonight, the mood on stage is playful : Kim : 'Goodnight Joey!', Joey : 'Goodnight Kim!', Kim : 'Goodnight Charles!', Charles : 'Goodnight Kim'!, Kim : 'Goodnight Dave!', Dave : 'mumble' (well maybe I didn't hear correctly or he didn't have a proper microphone!), Kim : 'Goodnight everyone!' . Everyone : 'whaaaaaaaaaaaaaaaaaaaaa!' (Me : 'Goodnight Kim!', surely it wasn't hard to get, but nevermind). A bit of a hassle trying to get the metro back, my neck aching again (I think the painkillers started to wear out during Pixies' set), muddy shoes and jeans, but a good day altogether. Sunshine is forecast for tomorrow, bring it (and Pete D) on !

 

The Knaves                    Brixton Telegraph, London    19/8/2005    ****

More a passing mention than a full gig review, I went to see this little upcoming band that I'd heard of via The Others' forum, and they are well worth your ears or mine. A compact set, full of good tunes and energy, complete with a mini stage invasion, check them here. Oh yeah, and there were a few more bands on show, but they didn't particularly catch my imagination.

The Magic Numbers          La Boule Noire     7/7/2005    Gig : *****         Crowds : 0

So I missed the in-store appearance in Selectadisc in London in May, cos I bought the single a day too late (or maybe only a few hours). This was a chance to make up, cheap gig (for Paris)+ unnamed support band. Unfortunately, with the events of the day, I felt maybe they could cancel, and I would go back home, feeling ever so shit about the state of this world.

But The Magic Numbers are all about the good vibes, they were not coming straight from London, but were on tour, and they're on a mission to bring the smile back upon your face tonight, so just enjoy! It got easier when I got texted back news from friends in London, and the only very fleeting reference to the bombings was 'we're going back home tomorrow, so hopefully it'll be OK', someone shouting back 'be safe!'.

No support band after all (getting used to that), cue a longer wait and more drinking (not free this time). Funny audience: a bloke at the front stuck to the stage, proceeded to take a book out of his bag and simply read while waiting. Mmmmm. Not too many people tonight, they get in eventually, but I don't think I've seen so few in here since The Delgados a few years back (Merz remains the lowest room filling ratio ever).

When they get onstage, oh yes do they look like fat hippies. No acoustic guitar in sight though, and the main set is a bit like an image of the album : the start is more 'rock' and there's a little slow patch that's a trifle too long in the second part of the set, where the mind wanders away a bit. But that's me just being a little picky with hindsight, because frankly, it never seems like that on the night : there are smiles, there is communication, and they do rock a lot more than what I expected. Romeo asks for a little more reaction, but unfortunately he won't get much more than a little hand-clapping in rhythm at times, when him or Angela starts it. But there's hardly a booty shaking, not even a head nodding, or a shoulder swinging. Which, frankly, is a disgrace. I know the album's not out in France yet, I know the gig is cheap and a few people got invites, so got in for free, but frankly guys, just listen and be taken by the music. No need to mosh here, but just show some kind of happiness and gratefulness to these people on-stage who do more than enough to make your hips twist. Far too many French people, maybe that's the problem. But back to the gig, we get treated to most (all?) of the album, including summery single Forever Lost, and first ever single Hymn For Her, who starts all gentle and twee, but ends up right there in heaven. Romeo's just such an affable frontman, with a permanent smile on his face, Angela only plays xylophone, melodica and tambourine, but she's got such a lovely face, and when she sings, she's got the voice of an angel (ever so clear on  I See You, You See Me, where she takes some leads). When Michele adds yet more backing vocal harmonies, they just reach for the heavens (brother R and sister M  the most smiling siblings ever seen on stage), and Sean (Angela's brother then) at the back does his job without too much fuss.

Romeo attempts to make the crowd sing along to album closer Try, but only gets half-success. Bur there's still time for the encore.

Someone from the crowd (so obviously not French) asks for This Love (no not the Babboon 5 song, silly!), they seem to wonder, play it and just announce 'well it was the first time we played it live' or something. Which is nice! Another slow song, followed by one that rocks out more in the chorus (still no movement in the crowds, bloody hell people, you only lost the Olympics, while London lost many lives, and you're there, still only curious instead of seizing the day and the lovely heart-warming show in front of you ? I mean, if you're so interiorised, stick this album on your CD player at home, but don't bother going out for the gig, right ?), and even after they say 'goodbye' and all kind of nice things, they still put a let's-just-have-fun-make it-rock'n'roll 30 seconds rock-out that still does not triggers the delirious reception it deserves. Oh well. They still don't care, they're happy and probably think everyone in the crowd is nice. Which is nicer than even I am.

Oh yeah, and no T-shirt or CD-selling stand, merchandising definitely very low on the priority scale for these guys! That's cool.

On a day that was so dark for the human race at large, The Magic Numbers made us realise that music doesn't need to only express its anger to make a powerful statement. We'll fight with the flowers-shooting guns if need be, but we shall not be brought down. Life is enjoyable any day, and I can smile forever now.

The Magic Numbers ? There aren't so many, they probably won't save the world, but they'll definitely help make it a much better place. Now roll on summer !

 

Epilogue 1 : met this American guy from New Orleans outside the venue, who wanted to go out all night. Very American. Took him to the pub (he only had dollars...), but I really had to take the last train home (which I really just got, I had to run). Was confused, but feeling so good, no problem talking to complete strangers (he didn't ask me for nothing first, I just asked for a cigarette, so I had no trouble he was not exploiting me!), it's rock'n'roll, man, be nice ! Had a decent day at work the next day, late and more efficient than most days of that week.

Epilogue 2 : oh yeah the R'n'R week was only supposed to finish on friday night with the Rakes DJ set at Truskel. Had a 'not-so-good' feeling about it, since I couldn't drag anyone out for this one. But I decided to go there on me own, after a little stop at the pub for one. The place was packed, far too packed indeed, and well the telling thing really was that the person I knew better in there was Jamie from the Rakes, that I'd only met a couple of days before. Talked a little longer, he told me about their programme (after Tuesday, they did Stockholm on wednesday night - so not in London for the bombings - , here again tonight, then the next day they had to fly 7am to Glasgow, T in the Park, a festival in Serbia, then Italy for a few days, no time to rest), album release dates, and offered to show me around London if I came around there sometime in August, still nice. Just a couple of thank yous to the other members of the band, again, not just hanging around. Not so much socialising there, I attribute that to my heavy week, but most of all to the very heavy number of French people (poseurs?) tonight, these were just very shit overall. Too many people meant absolutely no space to dance either, drinking vodkas far more practical than beer (didn't want to drink too much anyway, it was having no effect at all on me, not cheered up, not talkative, just bored, smoking fags). The music played was a bit too obscure to my taste anyway (save the few Rakes number and one Go! Team single), though Alan was visibly having a good time behind the decks and wooing the crowds! A Forest still popped up near the end, and a little later, The Rakes' own fantastic Strasbourg, followed by some White Stripes (Blue Orchid methinks), when I decided to leave, to finish at least with a decent impression regarding the music. Far too many people (or to be more accurate, too many people given the size and shape of the place, would have been right in O'Sullivans by the Mill), too many French people (I'll have to change passport soon...), very much not the same as Tuesday. Although to be fair and honest, it might not have had that much to do with people's nationality. Just something. Got back the right way (so I walked past Le Triptyque), took the 4.30am night bus (reasonable but I had to, having some driving to do midday the next day), but it really felt like a very unnecessary night, not much fun, no rock'n'roll, no socialising it'd been a long time since I just smoke and drank while simply being bored to death. Normally I go home in these cases, but since I only got there 1am, trains don't run all night. Thanks Jamie for making it not a complete waste though. OK, end of 'blog'. No gig till Rock-en-Seine (just maybe, at least on French soil). And I'll quit smoking again.

Epilogue 3 : Saturday, Sunday, Monday were a lot nicer, and a lot more fun. Irish, Scottish, Swedish, Argentinians, and even French, yeah ! And I promise I stop blogging here. Right here. For now. Ha!

 

The Others+The Paddingtons            Le Triptyque     5/7/2005     ******        (photos here and there).

It was more than just a gig, and this for several reason. There was a third band (The Gazelles ? the initial name in the poptones e-mail, The Cazals ? as later advertised, The Gazels ? as spelt by Dom Masters on his forum. So I don't really know, and I missed their performance), but that's way below the point.

So do you want the whole story ? I'm warning you, this is not just a gig review, that's turning more into blog mode! Apologies for the very direct and therefore shit (absence of) style.

The initial message was an advertisement on the Poptones website, announcing a show with The Others, The Paddingtons, The Rakes and Babyshambles at La Scala in Paris on July 5th. And 'check information for tickets'. Must have been on the site half-a-month before the event, then promptly disappeared. I'd been trying to see The Others live for some time, just missed them in London, and there were a couple of dates in Paris, initially scheduled but cancelled. Rumour on the Scala event (moved to the Triptyque quite quickly, and with Rakes and 'shambles disappearing from the line-up) was that it was after all a private party for Hedi Slimane's birthday (one of Dior's designers). I e-mailed poptones to ask about the whereabouts of the event, they just replied that yeah, it was a PR fuck-up and sorry, you can't therefore get tickets for this particular event, but they would be trying to set something up in Paris soon.

Kept checking various sites/forums for any information on the following few days/weeks, until only on July 4th, early afternoon, I checked The Others' website, and found out a competition, like 'first 15 to send me an e-mail win admittance to the event'. I thought 'shit', that was probably posted in the morning, but still tried my luck. And hey presto, I got a reply : 'you won!'. Also e-mailed a couple of mates, who amazingly won too!

Got more details through post, like stage-times, who to meet at the entrance to get your admission wristband, phone number of the 'tour manager' in case you got trouble catching him. So very real and definitely not a hoax. Felt so happy, on a day when I got news (not especially good news, but signs of life all the same) from a friend to put a monkey off my back, slightly. I was therefore ready to spend a great night the next evening, just warned people I'd probably be late at work on the wednesday !

So when I arrived at Le Triptyque near 8pm tuesday to collect my wristband (the guy was supposed to have been in since 3, but there was absolutely no mention, of 'be there first', it was just a 'you've won, you'll get one and only one ticket' matter), I had the bad surprise of seeing the guy (he was not the one who had organised the competition) tell me, 'oh sorry, there's been a big fuck-up, when I left London, I was told it's all fine, but when I arrived here, I was told 'sorry no, you you can't have as many tickets, cos there's 450 guests from Dior and the venue's too small'. But he also said 'I'll try to see what I can do for you, just stick around, wait and try regularly'.

Well, so let's just go to Plan B, have a few beers in the bar (so no food for the night - there were no canapés inside) opposite the venue, next to The Paddingtons, and next to all those young kids from the 853. Waited for my two friends, took up to smoking again (after a 4 years hiatus), so pissed off was I, but still determined to go in. Tried the guy again, no chance, talked to a few of the (nice) kids, saw some of the band out of the Tourbus but didn't take the chance to be just a ligger, and eventually proceeded to the venue's doors at opening time (10pm).

Met loads of people who were in the same situation, some got in through Dom (eventually), but the main thing was watching the people enter the venue, and check all the famous guests. People started arriving rather around 11pm-midnight, but anyway, celebrity-spotting was on. In no particular order, Hotel (from the Kills), Jake Shears (from Scissor Sisters), Neil Tennant (from Pet Shop Boys), Jamie from The Rakes ('we love the Rakes!' greeted by a little wave and smile), then more minor French B or C-list celebs, like Philippe Manoeuvre (him of Enfants du Rock fame), Mademoiselle Agnès (from Canal+), accompanied by, well another Canal+ guy. Oh, and the 'highlight', as the rain started falling down, Karl Lagerfeld himself, being driven around Paris in his silver Hummer (for fuck's sake, I guess it was armour-plated as well!). One of my mates got lucky to have a wristband given to him by a guy who was at the door at 8pm when we arrived, while the other one gave up, saying he didn't want to miss the train, and that maybe he wasn't a big enough fan to enjoy it (he was still very cross the next day though). Other people got in (girl with wristband to bouncer : 'this is my friend, she works for Dior, she's got her card here', now that pissed me off, I was there for the music!!, felt like scribbling 'This is For The Poor, not for you Dior Suits!' on the wall), some pulled out of the wait, gutted, until there weren't many of us just waiting. Me I was still up for it (or for an all-nighter somewhere else in any other case, but that would have been quite self-destructive). In the end, I got to talk to a girl who was with a group of people who had all won guestlists status with The Others. I explained the situation, so she said 'come on! you've won, you have to come in, we've given so much money to McGee with Creation anyway, he owes us some !', and she said because they were 'guest+1', she would get me in anyway. So I just followed her, Johnny Others came back up, checked the names from his mobile, and hey cool ! We're in ! Thank you very much, didn't even catch her name in the excitement but waow, obduracy paid off once more after all!

Once in, well, just a few words with Hotel (no sign of VV tonight though some people said she was in, but I can't spot everyone, the place was quite packed) to tell  him how much I enjoyed the gig in June (I said 'May', but hey I was in no state to think too hard), had a little chat with Gary Powell (the Libs' drummer), such a nice guy, he was having a start on water cos he had a big night in London the night before. And just to tell you how nice he is, I just bumped into him a few hours later, and he was still asking me how I was. Got to the bar, quiet start with a beer (well, after all the other ones that preceded that is), it was all free bar, with Moët&Chandon, supercharged vodka etc. Crowds was a mix of models and rock kids, no people on the dancefloor yet, though the music was already good. A cool few words with Jamie Rakes too, and I think the second gig (must have got in about 1am) started shortly after. A few words with Johnny Others at the very start of it,  in a fucking 'So, Johnny Others, what's the vibe for tonight', like I was a journo or something, dunno what took me. He just said something in his own inimitable style along the lines of 'it would be more interesting if they did something with Hedi Slimane and Neil Tennant on the stage', or maybe I was already too confused to understand. Anyway the rock'n'roll started here with a riotous performance. And Pete Doherty made a surprise appearance onstage (well off-key, but hey nobody really cared there), on 50 to a £ (get that new single now!), cue more mayhem, and Kate Moss pulling to the front of the stage. Didn't really see her, but she must have been within touching distance, maybe I bumped into her, maybe I spilt vodka on her, who cares, I was just having a great time ! Check Joel Crisp's blog  (entry titled Mud Spliffs and Cracky Jokes) for a funny account of the event. Everyone ended up in arms, as the night went on and descended into more drunken haze. Anything between them and The Others I don't know, possibly more meeting and hugging complete strangers, everyone seemed so elated and in a cool cool mood, it felt so easy. The Others gig? Oh my God, it was as good as I expected, fucking great indeed, stage invasion on This Is For The Poor, it just felt so OK and natural, although as Joel said, might have felt a little contrived for some. Lots of stagediving, crowdsurfing, and an all-round happiness.  In any case, it's got to have been the best gig of the year, for many many reasons. Check Dom's natural charm and charisma, Johnny's unbeatable aloofness, and Jimmy's fitting hat (sorry Martin, you're always too far back)! Ended up talking to those people who got me in, debating the merits of The Smiths, New Order and various Creation Bands like The Boo Radleys. And finally back to the dancefloor, where ace tune succeeded ace tune (could name them then, not the next day, though I'm pretty sure I recognised Teenage Kicks, but that was 'early' in the evening) . My kind of perfect disco heaven, whoever was DJing (Carl Barât didn't turn up after all unfortunately, and oh yeah I did see Alan McGee, not sure he DJed but I didn't feel like talking to him after the Poptones tickets fiasco). One of the last men standing (or staggering at least), my mate wasn't looking so good. Don't know what time I got outside, just that for some very strange reason I took up rue Montmartre the wrong way, ended up in Moulin Rouge instead of Châtelet, but hey that helped me sober up and I knew that if I stuck to the one road, I would end up in a big place with a metro stop. Paris is cool sometimes. Time wasn't really an issue by then. I tell you what though, I really wasn't walking straight, so I must have walked quite some distance. Found the receipt from RATP a few days later (so I managed to buy a carnet and talk to someone then!), must have taken the metro at 6.15am at Blanche station. Got home safe (my mate didn't have that chance, I learned the next day that he got his jacket stolen), not falling asleep on the train, a couple of  hours sleep and back at work for a little aperitif around midday. That was a rock'n'roll night, and one of the happiest, nice, don't feel bad, don't feel ill, don't feel sick, don't feel any regret. A memory to cherish, a moment to enjoy. Thanks to everyone who made it so cool ! (and I still feel sorry for the people who had won the right and didn't get in).

Epilogue : London got the Olympics, some French people were pissed off, me I couldn't care less. Who's feeling silly now ?

Four Tet+whoeverthefucktheywere            Le Point Ephemère     28/6/2005     0

So I was supposed to go and see a second genius in two days, although of a very different kind. And I knew I probably wouldn't like it. I suddenly realised that I had got this ticket just to check what kind of gig a laptop boffin could come up with. It dawned on me that there was no way this could be a good gig after last night. But hey, I'm generally open-minded, and some gigs in the past have been good surprises when I didn't expect them to be.

Late start as usual for this venue, but I was late myself so perfect, and only two 'bands' on the bill tonight (well it still doesn't sound right to call guys with laptops 'bands'), a first for me at this venue, meaning maybe I'd get the last train home without missing the end of the show.

So first the support act (well even that word seems to give to much credit to that type of thing) step up to the stage, i-Mac on, and film projections in the background. It's a single sequence, and visibly not just some electronic songs mixed into each other. The start is very chaotic, sound and picture match, some kind of clanking noises, with no apparent coherence or direction. As it is, the sonic soundscape slowly evolves and takes shape, and you could imagine this (still with the accompanying projection of various undescribable bits and bobs) being quite pleasant as a morning LSD comedown. Unfortunately, it's 10 in the evening and I've only had a couple of beers. The sound seems to be coming to a quieter phase again, and everyone expects it to be the end, but it goes on for probably another good ten minutes, without ever picking up again: you only realise the end is in sight when the images at the back go back to what they were at the start. A slight smile and handwave to acknowledge the crowd, they close their laptops (I guess it's the equivalent of switching the amp off or simply putting the guitar back on its stand...) and they're off. Oh yeah, the band themselves? We don't know their name, it's not written anywhere, and they don't have microphones to speak in. They're a couple of blokes hunched on their laptops, concentrating on their task, hardly even bobbing their heads, and frankly it's quite definitely even less interesting than watching me at work for fuck's sake!

    Kieran Hebden doesn't want to use projections to detract us from his set, he's a solo artist and does indeed do separate 'songs', well, sometimes at least, if only to change his settings or let the crowd acknowledge the event. It's still several laptops, but only one bloke this time, kind of slightly afro'ed white guy with a spotlight on him, who's got a bit more movement to his head than the support band, and smiles a lot more. He's got some great tunes, I'd have him DJ in every club in this country all year long, there's a live element that adds something to the album's sounds, but at the end of the day, this show is still only knob-twiddling, and however good and proficient the man is at his job, I'm just not getting it as a gig.

If things were advertised as a rave party, and the 'live act' would be tucked away in the shadow of a booth, playing exactly the same music as Four Tet plays tonight, while everyone would be dancing the night away, turning around to the music in all directions, that'd be absolutely fine and dandy. But watching a man take centre stage, just facing him as he does it, and therefore not really dancing at all, that's utterly pointless. "20,000 people standing in a field" (as Jarvis Cocker sang), that's how it should be. At some point I nearly give up and watch the time, it's possibly just over 30 minutes into the show, and it's only because he plays a tune I vaguely recognise that I stay. Given the early-ish time, I decide to stay for the encore too (man comes back onstage, opens his laptop again, that's what it means...), which is a single, slow-ish number (thus making even less sense than the dance stuff for this kind of 'gig'); I'm bored to death, he finishes with a bit more noise, a synthetic wall-of-sound, that's again just the equivalent of the massive larsen/feedback you sometimes get to conclude a rock show. No 'guitar' trashing however, hey these computers are expensive man! Is there a second encore ? I doubt it, as I hear some background music from the speakers as I leave, but frankly I couldn't give a damn, I'm off even though I've got time to spare, and well I know I'll never try to go to any other gig from an 'electronica' artist. It may be good on record, good in a club, but certainly not worth a staged concert. Yep, I should have known better if I'd thought of it, but hey, sometimes you still have to try.

Now don't get me wrong, I'm not arguing, there's probably as much skills involved with getting all this sounds in from your laptop, and pushing the buttons at the right time as with playing a guitar solo or churning out a funky bass-line, but this page is indeed dedicated to live gigs reviews, not club-nights. Hence the nought mark.

And just one last rant: what kind of people do you get in these gigs? Apart from a few lost souls (what was I doing there?), and a few random drunk Brits, it's definitely not the usual crowd I get at my type of gigs. Mostly it's the geeks from the backpack brigade. Now I insist I fucking hate people who go to gigs with bags on their back in the middle of the crowd or near the front, but I accept sometimes there's no seating and there's no cloakroom. But in the fucking summer when it's hot like that, what do you need ? A credit card, some cash, metro tickets, keys and a couple of tiny other things maybe. Surely a couple of pockets are enough ! Now girls are allowed their handbags with all this mysterious stuff in, but boys, you really are such geeks. And gits!

Bright Eyes+The Faint   Le Trabendo     27/6/2005    *****

Conor Oberst is a genius. He's also more or less at the head of Saddle Creek records, which may be why he brings along some labelmates with him tonight. So I get to see The Faint again. I thought I wrote a longer review for them last time, but scrolling down I see I had been quite short and dismissive, not sure why, they deserve a bettter appraisal.. So is it simply that I enjoyed them more this time? I'm not over the moon about them yet, but since I was in a less central position this time, I could focus on the music and the band more, and less on the visuals (they were possibly different and less dynamic than last year) And I found I liked the band fine, these boys have bags of energy, especially singer, guitarist, and the very impressive bass player (not so impressive by his technique, but just by his size and an unimpeachable air of cool), and the singer as a little something of Johnny Lydon about him.. The sound (up to the massively FX'd up voice processing) is a touch too un-real, not quite live, which is a bit frustrating but goes well with the genre I guess. There's a new fairly melodic song, which is very good but sounds a bit out of place here, there's a few very rocking moments (presumably from the latest album), that make them sound more like a live band, but these are unfortunately not supported by any kind of tune. What they do best however, is that kind of 80s electro-synth disko, rocking, thundery and sure to get your indie disco heaving. Anything from Dance Macabre is still irresistible, and they aptly finish with Agenda Suicide. The Faint play some intoxicating floor-fillers, but as a live band, I find them rather unnecessary. Actually, they would be perfect as a soundtrack to a VJ set in Point Ephemère. That is the place they belong. (Oh and they pretend to bring in a couple of string players, who, apart from a ten seconds intro to one of the songs, cannot be heard at all, but the explanation lies below).

    Last Time I went to see Bright Eyes a.k.a. Conor Oberst, he was playing a solo gig at Le Batofar, yeah just him with an acoustic guitar. Well I knew he was playing with a band this time, mostly touring his 'electronic' album(-ish-ish where did I read that ? As the CD review states, it's nothing of the kind anyway). So I didn't quite know what to expect tonight, but two drumkits certainly didn't seem like a possibility. When the soundcheck consists in trying a couple of heavily distorted guitar sounds, you could be forgiven for thinking Bright Eyes pulled out to be replaced by ...Trail Of Dead.

But then there's the intro music, exactly the kind of tape playing at the start of Pornography (the song) from The Cure. The band appears onstage, two drummers indeed (including the one from The Faint), a guitarist or two, the keyboard player from The Faint, the aforementioned cellist and violonist and the bass player....from the Faint. Now this guy seems to only play two gigs every night, since last time he already supported The Faint with his other band Bip-Bip. The man's a legend. Of sorts. Because when main man Conor steps to the front of the stage with no instrument at all to rapturous applause, the rest of the band is quickly forgotten. The first track, the opening gambit from Digital Ash, still has this bizarre sound as on record, but then Gold Mine Gutted starts and the magic begins.  And the vibe tonight is mostly rock. Digital Ash isn't indeed a step into synthetic music at all, but an album that organically rocks; and that is a revelation. This latest album indeed forms the bulk of the set, but there's some older tracks from Fevers and Mirrors and the gorgeous Lover I don't have to Love from Lifted that handily complement it. Unlike with Adam Green, the music, as played by the band, truly is an integral part of the aural pleasure, and if anything, the only regret is that Conor Oberst's voice is at times under-mixed with respect to the other instruments, thus lessening the impact of his story-telling gift. But there's still some time for communication during the show, a discreet anti-Bush snide comment, a sly dig at Glastonbury ('over-rated,man' though they 'resurrected John Peel' -cue massive cheers) and an invitatin to everyone to 'Just love yourself, love your friends, and most of all love these strangers next to you, live your passion, whether it's music, whether it's smoking cocaine, etc.' -think he mentioned that twice in the evening, erm). He even invites a 'guest star' to play with him (M Ward, just know I've heard the name before), and finishes with another gem, Easy/Lucky/Free (or was it the end of the main set ? the end of the encore was equally as good in any way). And all of this tonight, without a single acoustic guitar in sight, melodic and beautiful yet rocking. Oh the two drummers didn't really seem to add anything, but I trust they just blended so well together we wouldn't know. See, Conor Oberst is a genius, he could probably out-rock AC/DC, out-country Hank Williams, out-blues Jack White (if he were still doing Blues...). The only thing he probably wouldn't do is rap. But this man single-handedly nearly renders any other band superfluous.

Get all his records because they're fantastic, but Bright Eyes is also a great live act. You may need to see him twice, acoustic solo and with a band to realise how much talent he's got, but should he decide to play a gig that combines both (I missed the gig in La Maroquinerie, cause Bloc Party. when they were still worth it, but maybe he did that ?), get there and properly....faint.

 

Adam Green&The Gnomes+Hal+...The Gnomes   Le Trabendo     7/6/2005    ****1/2 (photos)

There's always something unusual, going to a gig where you hardly now any song at all. And so it was tonight, I'd only heard a couple of songs from Adam Green, that I quite enjoyed, and I expected just him with an acoustic guitar, strumming some quirky, zany songs. It wasn't like that at all, as you will read a little later.

First up the Gnomes, possibly making up the numbers, and filling up an available timeslot. Nothing quite remarkable about them, there's no shame in listening to their music, but it's not like something new or exciting.

And then Hal. I know a couple of their tunes, OK but didn't get me thrilled. They get a good reception, with their lovely vocal harmonies, and gentle summery pop. Yep, it's lovely, not worse than The Thrills, but not necessarily a zillion times better either. Think I'd enjoy them more at an outdoor gig and if I weren't tired. But hey-ho, they're not too bad and they can sing a bit (well that's when the bass player's not trying too hard to reach for high notes), but Hal ? 2001 was a bit of a boring film anyway.

So to the main course. I'd noticed the drumkit from the first band was still on, but I had assumed it might just be that Mr Green only needed a little space for him and his guitar, and there was no need to waste some time clearing the stage. And so it was only a slight surprise to see the Gnomes reappear onstage. They start playing, there's a little hand waving behind the curtain and after only a few bars, Mr Adam Green steps onto the stage. I never realised how much of the Carl Barât (though possibly crossed with Julian Casablancas) his face bore. Except he's wearing a superb scarlet jacket that gives him a very personal style. And when he starts singing, what an amazing baritone! The Gnomes just provide the musical background, but let's face it, with this man, it's certainly not all about the music. It's actually very little about the music indeed. I can't go into the details of the setlist or the songs, because most of them I don't know (apparently there's also some new ones so I'm not the only one not knowing these), but it's all about the lyrics, the funny moves, the spontaneity, and various little side shows ('sorry that I burp when I sing sometimes, but I just can't breathe through my nose!'). Song after song after song, an impromptu version of the Beach Boys Kokomo (impromptu in the sense that it wasn't meant to be played then), and after a while, the Gnomes disappear, Adam picks the acoustic guitar, and finds himself just as I expected him. He strums a couple of chords, yep it's What a Waster, his splendid Libs cover. I can't be happier! Another acoustic number follows (Adam Green turning all Conor Oberst without the guitar skills), and then the Gnomes come back for a rendition of the Velvet Underground's I'll be your mirror. Simply superb ! And on and on and on. I don't know the songs but it's enjoyable. When the encore comes it's only natural. There's a funny song when Green takes an electric guitar and plays some random pseudo-solos, completely out of tune, but that's part of the show. I don't know how the band keeps in tune (maybe they've cut the monitors for his instrument), but they play on with a straight face, though everyone's laughing when Adam Green eventually attempts the intro to Purple Haze in a very liberal way to finish the track. And then it's all requests. Name one of his songs, and he'll sing it (Jessica? He's the brat?). It's all good natured, everyone's being entertained. It's pure cabaret stuff, and the man's got such a natural charm. Adam Green apologises for a few notes he can't reach, promises to sing better next time, but there's nothing wrong with it: the voice's still great and this just adds to the charm. The band leaves again after another request that Adam performs on his own (so that's three tracks where he played the guitar then!), and then he leaves the stage himself. But it doesn't feel like the end, more like he's concerting with the band to decide what to do next. So when they come back, it feels less like a second encore, more like an attempt to take control again after the requests bit. I can't remember if it's then that Adam Green lauches into a few lines from Salt'n'Pepa's Let's talk about Sex, but he does it anyway, one song and then finishes with....Kokomo again(more likely planned this time, but hey what the f*** ? They played it once, but everyone enjoys it a second time!). This time he invites a fan to join him onstage, and that makes for a lovely improvised duet (though we don't hear the girl much, it's hard to share a microphone), but credit to her, she doesn't seem to overawed). And so the gig ends. Sometimes it's really not just about the music. And if you're looking for a good time, Adam Green's your man.

The Kills+Nelson    La Cigale     3/6/2005    *****

One of the bad things when you know the support band in advance, is that you can be well pissed off if they pull out at the last minute. Unfortunately it was the case tonight with British Sea Power cancelling, having just been back from Japan (who the fuck is organising their tours? Have these people got no sense?). I don't know who booked the replacement act, but some people have just got a wicked (or simply well fucked up) sense of humour. British Sea Power ? Symbolised by the victory over the French at Trafalgar? Oh that'll be Nelson then! Except that when a French band is called Nelson, you suspect there's something wrong. And when the man who steps out of the limelight to take centre stage is the man who (used to?) plays the bass with The Parisians, you fear the worst. He's still a little poseur, and unfortunately he can't really sing. Doesn't well know how to use the microphone either, there's a couple of moments when he's not even managing to get his voice through. Well, there's another 'singer' in the band, but he's possibly even more out of tune. And when the two try to duet it's just fucking horrible. The music is mostly utterly forgettable random rock'n'roll, but at least I'll give them that it's still better than The Parisians, and there's actually a couple of decent tunes (well if they could actually sing them). But hey, possibly just another band without a future. I hope they're having fun at least, it doesn't really show.

The Kills, on the other hand, prove that you don't need more than two people and one or two guitars (plus a tape, granted) to stage a great rock'n'roll gig. Yep, just the two of them, plenty of space onstage, starting with title track(from the new LP) No Wow, following into Cat Claw and so on. It's compelling viewing, it's down and dirty rock, and you can't take your eyes off them. Maybe the first album was a little better so there's a couple of tracks tonight where attention drops a bit(or maybe it's just me being still rather cream-crackered), but there's the movements, there's the face-offs (when Hotel seems like he's attacking VV who's barking back at him), and also the funny bits, like Hotel seemingly singing or shouting to someone in the balcony when he's not actually singing his lines in the microphone). Your Love is a Deserter(my favourite from the new album) gloriously concludes the main set, and an encore is duly claimed for. And guess what ? No 'who-hohohoho' (I heard one briefly, but it got quickly stifled), just clapping and whistling and shouting, million miles away from the Bloc Party. of a few weeks before. A decent encore at that (including Fuck The People - Hitched, however, was sorely missed by me), with another funny bit when VV just circles around the stage (she did it earlier too, albeit more briefly) at the start of a song before she had to sing her lines, like if she were on acid, locked in a vicious circle. Honestly, The Kills were a refreshing cure of Rock'n'Roll after a few dreary gigs. I heard some people say the 80s Matchbox B-line Disaster were the saviour of rock'n'roll. Well, as I said, I can't judge last night's performance overall, but trust me they are emphatically not. On the other (mean) side, The Kills may just be what the doctor ordered. And a 10pm finish is also nice when you're so very tired, even on a friday evening.

 

The Eighties Matchbox B-line Disaster+I love UFO+Turzi    Le Point Ephemère    2/6/2005    ** (photos)

Late kick off as usual for this venue (actually it's getting worse every time), with the first band (Turzi) coming on stage after 9.30. Drummer in the middle of the stage, sitting in an unusually high position overviewing his kit. A couple of beardy blokes, and another man, apparently the main man though he never lets it show during the gig. Well, they could have been called I love UFO, because they're playing mostly instrumental hypnotic music, some kind of rockier M83, with as little communication with the audience but (much) better music. There's a couple of 'songs' but you can't actually hear the words. All told, not bad at all, and strangely enough for a gig that lasts well under half an hour, it feels longer than it actually is. Possibly better on acid, but at least they don't outstay their welcome.

Next up I love UFO, who could have been called Turzi (or Turgid or Turd more...), absolutely nothing spacey about their music. It's rather brutal, mostly non-melodic, veering on Noir Désir(or trying to) sometimes, but the most insistent and annoying feature is the screaming singer. Howling in the mike is alright when you do it only sometimes and at the right time. But there the man simply does it everytime he steps to the microphone. And when he tries to do it slightly softlier, well you just realise he can't indeed sing. There's a couple of interesting bass lines, and the 'show' is actually OK, but the final songs are just overlong; and the twiddling and tweaking with effect pedals near the end is akin to public wanking. It's alright being self-indulgent at home if you really must, mate, but right here, come on! Oh, and when the set is over, what does the singer do? Well he just screams 'aaaaaaaaaaaaaaaaaarghhhhhhhhhhhhhhhhhhh!' in the microphone a couple more times, where a simple 'merci' would have been sufficient and nice. My left ear ie being murdered. Besides, it's running late, meaning I'm going to see only 20 minutes of the Eighties Matchbox, which wasn't the plan at all (at some point it was announced that Turzi had pulled out). When they step onstage, it feels like a troup of goth-metallers are taking control of the planet. And when they start playing, well it 'does exactly what it says on the tin'. It is Goth-Metal. Quite interesting, an undeniable comedy value, but the most annoying thing here is possibly the teenage crowd of goth-wannabes from Paris. Moshing, pogoing just for the sake of it, while the music does not necessarily incite to dance. And they really should be in bed at this time of night! I honestly can't pass any judgement on the band or the gig itself, having witnessed only about 5 songs. All I can say, is at least they speak (the singer starts with 'Bonjour!', a lot nicer than 'aaarghhh!'), the sound is very good and clear, and the songs are efficient in their own genre, I can't really connect (besides I'm absolutely exhausted), but I can understand the appeal. Bugger the trains don't run all night, but hey tant pis for this time. Next time we'll take the car.

Bloc Party.+The Rakes    La Cigale    18/5/2005    **1/2

Kill yr idols! The Bloc Party. backlash starts here. I would have given them only two stars, but I've got to be honest, it wasn't that bad in itself at all.  But first a few words about The Rakes. A decent racket, but nothing special, a geeky guitarist (like a less ginger Graham Coxon), a very slim manic Jarvis Cocker lookalike for singer. At least a couple of decent singles (22 Grand Job and Strasbourg), but not very much in terms of tunes. Give them time to grow, they're fairly good and will get you nodding in approval, but are not quite the full monty yet. As opening bands go, The Cribs were miles better for instance.

Anyway, so what went wrong for the Party? Well, almost everything. This time, no massive 'BLOC PARTY.' at the back, but the equipment is already set up (the stage is big enough to contain both the Rakes' and Bloc Party.'s gear), and unfortunately there seems to be like a media-operation going on. Which means a fence about a metre from the stage, and a step(!) leading to the fence (I suppose it's the only way to make it hold, but it's nigh on criminal). So you know there's gonna be less interaction with the public(although there was more than initially feared), and it could not be as intimate as in la Boule Noire. And so they arrived onstage, Kele's wearing a skinny tie(I take that as a very bad omen...), smiling as always, and starting with Like Eating Glass and Positive Tension, no surprise there. Except that the sound is surprisingly low, you don't feel surrounded by the music. It's surely good for your health, but not for enjoying the music. Take your earplugs out. And then Banquet. They're not going to make the same setlist as Boule Noire though, are they? Fortunately, and unfortunately not (oh yes it does make sense). So the crowds, a load of groupies, possibly too many French people (I'll explain later), and above all, an enormous density of bodies, that makes moshing hard and less enjoyable than usual. I mean, I even had more fun on one leg in Boule Noire than here!!! And the step meant danger for the ankles, my left one's still a bit sore today (good think I didn't fuck up the right again!). Oh and did I mention there were quite a few very young people? It was funny when I realised that just before the gig, I was chatting to a couple of guys who'd won tickets for tonight, from Nantes, before I realised they'd just skipped school and were possibly marginally over half my age. Scary! Anyway, nothing special to the setlist, the inter-song communication was not especially brilliant either (admittedly they've come back from Japan a couple of days before and are looking tired and weary). Just before The Marshals Are Dead, Kele dedicated the song to everyone who was at La Cigale to see them last year, before realising there probably weren't many and saying '...and for everyone else'. Well, isn't that just being too nice, man ? Taking the risk of alienating some of your fanbase ? Or maybe it's just too much self-consciousness, as nearing the end of the main set, Kele says 'I said this last time, that this was our best ever gig, but hey we've done it again!'. Well, sorry mate, but I think you're deluding yourself, this is nowhere near as good as in March. And the main set ends abruptly with a hectic Helicopter, not mentioning Bush this time. And so after just above 40 minutes, they leave the stage. Clapping, shouting for encore, nice, expected. But then it starts in the annoying 'whohohoho-ho' French fashion. I'd not heard that in ages, I thought this wasn't going on anymore, but unfortunately it still does. Cunts! Anyway, so they come back, Kele takes to the mic and does his own 'whohohoho-ho, music to my ears!' What ? Hey man, you're seriously going wrong. Kele mentions this as being the start of the 'second half' of the gig, so maybe they'll play another 40? Still, it feels wrong for them to have this concept: this was hardly an entr'acte, and they're no Björk either, who do they thing they are? So here we are, Price of Gas...oh hang on ? Didn't you start the encore the same way last time around. There's not much movement left in the crowd, and it's not just the choice of songs. Though Plans was never gonna cause massive pogoing, it still created a little agitation in La Boule Noire which is conspicuously absent here. At least, they play The Pioneers that I hadn't heard live before, and that's like the only moment to save here for me. Oh and who had this idea to provide Matt Tong with a microphon? So sometimes he speaks a bit between the songs, but really what's the point? You lot are really turning into a pretentious circus. They leave again (so much for the 'second half' then). Guitar techs come back on stage straight away, so we know there's gonna be another encore, cue more whohohoho-hos that really make me cringe this time. 'Thanks very much, we only do two encores in France' blahblahblah, hey man stop pretending. While this may technically be true, you are definitely not a stage in your career where two encores make any sense at all. It's completely silly. An encore is contrived enough(as a friend of mine once remarked), but two? For a band with only one album to their name? And they don't even play any new song! Instead 'this is an old one'. Great? Erm, what ? Tulips is nice, but hardly old, it was like, on the third single. If you really wanted to treat fans, and play something really old that hardly anyone has heard, play Skeleton man (or Storm and Stress, apparently they played it in Marseille)! It's great (it was available from download here for a week, remember?), and it would get the crowds going a bit. Because, since Helicopter, the sweat has dried, everyone's just knackered, and there's been nothing to spark a new riot. And so it finishes, as ever, with The Answer, proving, if further need be, that there was absolutely no improvisation in that second encore. Who are you trying to fool?  And to give the impression of credibility by printing a setlist that doesn't include that second encore is downright patronising. Just a lame excuse for playing a shorter main set, less songs overall ? Oh yeah, they throw themselves into the crowd after that, but again that's lost all spontaneity, it's just part of the show...

OK if you haven't seen them before, you probably thought it was great, so my disappointment has got to be relative. But then when you've followed a band closely for even just a short while, you can see and sense where things go wrong, and this gig was definitely a missed opportunity for Bloc Party. Seems like it was more like an excuse for people who hadn't been at Boule Noire: no new songs (and again they played one in Marseille, what's this world coming to?), no surprise in the setlist, just the same clichéd attitudes and words, Bloc Party. are in danger of turning into a parody of themselves. Actually, writing that, I think I can take another half-mark off, I must be harsh with the ones I love. Oh, and did Kele mention something about Le Zenith (I remember I'd read some rumours about that). Granted Franz Ferdinand played Cigale then Zenith last year, but they didn't have the extra show in Boule Noire. Maybe they'll have a few new songs by then, but I won't be checking that. They need to move on and quick. So let's just hope they retreat, come back to their senses, make themselves forgotten for a decent amount of time, and start again like everything was new. Forget all I said at the end of my previous BP gig review. I don't know if the General Election fucked it all up: March may have been the time for the Party., but May belonged to the Chiefs.

Kaiser Chiefs+The Cribs    La Boule Noire    9/5/2005    *****

The Cribs? Didn't know them. They're quite OK, three guys, the classic bass+guitar+drums combo, with the two lead men singing along most of the time. They're a bit last year, what with the quasi art-rock thing, with maybe a touch of The Frank'n'Walters and a few sunny harmonies to boot (but not much in terms of smiles...). Nothing really new there, but quite pleasant all the same.

Everyone's fretting for the Chiefs, and something bizarre happens at the start. Just Ricky Wilson seeming to read something from a paper on the floor: 'Etes-vous prêt à mettre le feu dans la salle?' Bizarre? Well, yes if the last gig you've been too is the Go! Team: maybe Ninja left her notes somewhere on tour and Ricky picked that up, because she said exactly the same thing, reading from a piece of paper...Oh nevermind, we are indeed, (nearly) ready. People are bouncing and I nearly feel a cramp in my leg, having played a full game for the first time in 4 or 5 months the day before. But all things told, it was a bit of a slow start to the gig, opening with Na Na Na Na Naa (you know the chorus of this one now). Maybe it's because the front of the stage is unusally packed mostly with girls so the boys don't know how hard to mosh or not. The difference may just be that there's more hair than normal! Ricky Wilson's stage presence is however immediately noticeable. Anyway, things pick up a bit when they play their latest single Everyday I love you less and less, and a couple of songs later, the madness really starts. I predict a riot. Well, didn't I tell thee in my CD review? It wasn't very hard to predict, Ricky, was it ? What was hard to foresee however was the intensity and the sheer ferocity of the riot that takes shape in front of the stage. And it just turns wild when Ricky throws himself happily into the moshpit, then stands on the crowds, tries to reach for the ceiling and finally sings with an old guy from the audience. After that, there's a slower number, but then the fun never really stops. And thank God, the crampscare's gone now. Talking about the old bearded One, first single Oh My God provides another remarkable highlight. A girl steps onstage from the crowd, and just stays there completely lost (incidentally, it was the same girl who did a good four or five appearances onstage at Kasabian earlier this year, where the bouncers were very active). She doesn't really seem to realise what's happening, can't really sing, but bugger it, she'll just stay there while Ricky throws himself into the crowds once more. The girl eventually gives up and jumps back to where she came from. Ricky comes back onstage for another chorus,  and then the girl comes back, this time kindly aided by Mr Wilson himself --there's not a bouncer in sight tonight, Ricky drags people onstage). She invites a couple of mates to join her, and oh fuck it, Ricky throws the microphone into the crowd to no-one in particular, tries a bit of Spiderman gymnastics (hanging from the pipes on the ceiling) and follows into the crowd yet again a few seconds later. Everyone eventually gets their normal place back, but Oh My God, I can't believe it. Waow, indeed. A few songs later, Time Honoured Tradition (That is the end of that) finishes the set still frenetically (every song is a hit now), but in a slightly more restrained way. A two songs encore in not really necessary, but still gives a bit more time for the show, more abandon of Ricky to the crowd, and another happy 'guest' onstage, who's wearing long curly hair not unlike Simon's who tactfully acknowledges the fact with a pat on the head. The man stays there a bit, tries to sing (seems like Ricky's the only one who can actually be heard through this microphone), gets back in the crowd, and comes back onstage for more! And Ricky? Oh well, he spends most of the time off stage now!

And my ankle seems to be holding on OK, that's cool! I don' know if Lucas Radebe was such a good defender, but since he's the chief responsible for the band's name, maybe he's got something to do with the music too? Either way, while the album was very good, this brings the story to another level completely. Riot on !

The Go! Team+Pravda   Le Nouveau Casino    22/4/2005    ****1/2  (photos)

Pravda ? Yes, they're French and could be best described as Miss Kittin fronting the Bravery. Well, the band consists of a girl on vocals/guitar/bass/keyboard, a bloke on guitar/bass/backing vocals and....a strange Bez-like figure at the back, at least on stage. Maybe he's the drummer on record, but with his combat gear and oversized shades, he seems content to just hit the cymbals, adding no sound at all...and staying in the background. Stage presence is being missed from him, so he's not quite Bez-worthy, though he could have done a little more on the one song where the tambourine allows him to move around more freely. The music itself is rather fine overall, especially for an unknown French rock support band, fairly loud sound (a lot of it on tape though), and apart from the Bravery-Kittin(the accent is selling it) template, one nearly New-Order-ish instrumental stands out (though it's followed by an ill-inspired vocoder-led number).

What is there in common between The Warlocks, ...Trail of Dead and The Go! Team ? Answer : two drumkits onstage. Well, that's where the comparisons end, because while The Warlocks are shit, Trail of Dead loud as Hell, The Go! Team, all six of them, appear onstage intent on having fun and making you dance. Launching straight into Panter Dash, you feel something is happening, and you think the dancefloor is gonna go mad! But unfortunately, the friday evening Paris crowd seems to not quite be ready for them yet! There's no faulting the set, The Go! Team engage their audience a lot (and the audience seems to respond, vocally at least), the singer's reading the French inter-song banter from her paper, and there's a lot of giggling onstage. Happy days ! They could incorporate more of the girls-sing-this (i.e. "yeah! yeah!" or "go! go!go!") boys-sing-that ("awoof! awoof!" "team! team! team!") inter-song ping-pong into the songs themselves,  but it doesn't really hamper the show at all. There's some instrumental tunes, and the party vibe is even stronger live than on CD! It's like a funky mix of white-boy-indie music (the guitarist- he plays the harmonica too!) and urban hip-hop (not of the gangsta-style, cue the ever-smiling singer). And when you think it's all over they come back for an encore with a new song, and the audience seems conquered at last! No doubt there'll be more dancing next time. Nouveau Casino seems packed, the people are loud, but for some reason seem a bit apathetic. The Go! Team deserve a better audience. And that will give them the fifth star outright. No fault of them, I insist: they were absolutely ace!

 

Doves+(Band I didn't get the name of)   La Boule Noire 18/4/2005    *** 1/2

Got into this one not really knowing what to expect, having been rather impressed by their performance at Le Trabendo two and a half years before. Strangely for a band who have just released a new album, they opened with the same track as last time, the exhilarating Pounding. Unfortunately, this is not Le Trabendo, so the sound is not quite as good, and the guitar sounds a bit low in the mix, so you miss some melodic subtlety there. The following Words is still as good as I remember it, and then only do they start on the new album, with possibly the best two off it, single Black&White Town, and personal favourite Almost Forgot Myself. Then on to the first album (Sea Song) and so on. The real surprise for me is Ambition, the album closer, allegedly recorded in a monastery, and  delivered  live in all its spectral majesty, commanding a near-religious silence, a far cry from the relentless pounding of drums present in most of their other songs. The rest of the setlist mixes songs mostly from the last two albums (mention to the slight disco beat on the superb Last Broadcast), and The Cedar Room seems like a natural set closer. No real surprise with the encore of Here it comes and (obviously) There Goes The Fear. To sum up, a rather decent gig, possibly even great if you haven't seen them before, but maybe missing a bit of improvisation. But I can't complain : I came in fairly depressed, got out feeling rather better. As for the support band, I didn't catch their name, not so special or great to start with, but a fairly decent racket to finish with, not so bad at all.

Maxïmo Park    Le Nouveau Casino 10/4/2005    ***

It's always a bit particular, going to see a band who are just two singles in their career so far. There's still more people than you would expect, although there's a feeling quite a lot of them got in for free. So you know it's going to be a short set, and well, they probably delay their appearance just for that reason: despite the doors opening at 7.30pm, Maxïmo park get onstage shortly before 9. Which gives ample time for me to top up the wine  (red and white, celebrating Richard's marathon run) with a couple of beers. After that, well the gig itself is a bit of a blur really, decent frontman and pretty good overall (though the trouble with these gigs and this kind of crowds is they're just in the place out of curiosity instead of dancing or having fun - I seem to be the only one with some kind of motion, even though it's only nodding to the rhythm....). Next time they'll be better and have more songs, but for now it is good enough, recent single Apply Some Pressure a competent highlight. After The Bravery, it seems like there's a few bands coming to Paris very early in their careers, and that can only be a good thing, even if we'll never catch up with the spoilt Londoners. Now please tell me though why Hope of The States still haven't come to play here ? Check Sound of Violence for a more sensible and professional review (in French...).

The Robocop Kraus+This Ain't Vegas+Seanews    29/3/2005    Le Point Ephemère    *****     (photos)

First band, a group of French lads, 2 guitars, 1 bass, and drums, loud emo-type racket, not bad, but very short on melodies and not especially enjoyable. This ain't vegas hail from the North of England, guitarist tries to look like Pete Townshend (he plays the Rickenbacker after all), singer has the manic demeanour of Ian Curtis, bass player is more like, erm, a viking Cliff Jones and the drummer looks a bit like Keanu Reeves. So that's for the image, but the music itself is rather good, the singer and main guitarist have all the moves, and the setlist seems to be improvised on the spot. Musically it's just good straight rock'n'roll with excellent dynamics. May not be extremely diverse, but they're actually fucking good. It's a success, and they're even  called back for a spontaneous encore (rare for a support band really, they have to switch the PA back on) where they eventually choose a song among many possibles. Refreshing. Can the Robocop Kraus do any better ? Well, yeah, of course they can. Straight from Nuremberg, they've got more melodies, more moves, and they fit very well with the art-rock zeitgeist. The singer does a couple of outings among the crowd, climbs on the lighting rods, the music's brilliant, it's got energy, it's got humour (there's a song about Mathias Rust, the guy who landed on the Red Square a few years ago), and everybody's having fun. These guys deserve to be bigger, and one can only guess that they would already be, if only they'd been born in the UK. This finishes late enough for me to miss the last train, so I hitched a ride from a friend instead. They've got a new album out this summer, and if this world is fair, they will become very big. At 8.50Euros a gig, this must be the best value for money gig I've ever been to, since the free Cure gig in 1990. As Franz would no doubt say, they are super-fantastisch !

Le Tigre+Gravy Train    Elysée Montmartre 25/3/2005    ***    (photos)

Let's not really mention the support band. Camp as fuck. Apart from one of the singing girls, the other three members exchange guitar/keyboard/fluffy pink balls, and dance in the gayest imaginable way. Some of the music is sub-Tigre, overall it's rather entertaining but it's also very specialised stuff to say the least. Fortunately, Le Tigre rock a lot more (well they use a live guitar on some songs), have got much better looks and more composed attitudes. Most significant moment is possibly when they leave the stage for a costume change and above all let the video from New Kicks play on the back screen, as a 'no war' statement. Although the impact is obviously considerably less than it would have been a year or two ago. After that Seconds  is just the 'no Bush' follow-up. Overall, they've got good moves, more than a few decent songs, and it's an enjoyable show. As a political and lesbian manifesto that you can't at all separate from the music tonight, it's quite possibly powerful. However, as a live gig, despite the encore, for a straight music fan, I'm not so excited. A strange thing to note : unlike yesterday, this gig felt actually longer than it actually was. It's just a different pace and I also have to partly retract what I said about seats.

Mercury Rev    Elysée Montmartre 24/3/2005    ****1/2     (photos)

No Duke Spirit for support, so I didn't bother hurrying up to this one. As it happened, it was a wise choice, since a caught only a couple of songs from the opening act, and they didn't seem very interesting.

A quiet music, ripples in the background screen, then Jonathan Donahue appears, bottle of red wine in hand, followed by guitarist Grasshopper, can of lager in hand, praising it with his first words rather than just saying 'hello!'. Throughout the whole show, the singer looks and sounds as camp as ever, throwing shapes at his musicians like he's casting spells, and making theatrical moves with his hands. The first half of the show, with mostly new songs, leaves me rather unconvinced. The biggest reception is still reserved for the pieces lifted from the two previous albums. Very few words between the songs, but then something happens. Donahue picks up an acoustic guitar and starts a speech. He's going to play an old song, written when he was in another band (The Flaming Lips I presume), and this is for everyone who just gives and never ask, those we know, and those we may not know, and we just have to tell them 'thank you'. Of course the speech is much longer, and much better done, but you get the idea. The song itself is very simple and has a Bright Eyes touch to it, with loads of added spookiness courtesy of outlandish guitar effects from Grasshopper. And it's only very naturally that this is followed by the otherwordly Holes, a song that will forever remain very significant to me and brings a tear or two. This is a moment of pure magic, and the ensuing applause is one of the longest I have ever heard for a midset song. People are just enraptured. Whatever songs they play next, the eeriness remains and the audience is just captivated in silent admiration. It's very intense, and when the music stops, you expect curtains to drop, rather than musicians simply waving and walking off the stage. The encore could be superfluous. As it is, latest single In A Funny Way is  rather shapeless and uncalled for. But when they follow it by one of the best from Deserter's Songs (Goddess On a Hiway), all is forgiven, and The Dark Is Rising is an apt finale. If they'd played Nite and Fog and I'd been feeling better, they might have got a fifth star outright. Blame it on the new album. Oh, and after The Mars Volta and this, it seems like they could turn the Elysée in an all-seats venue.

Soledad Brothers+Dooley Wilson+Dechman    Le Point Ephemère    18/3/2005 ****     (photos)

There's always a little excitement when you discover a new venue that does cheap-ish gigs. The late kick-off meant I had time for a couple of drinks at a vernissage before heading to this new place. Lovely old warehouse by the canal augurs well, and entering in, maybe the smallest venue I've ever been to. Not many people to start with, loads of great value-for-money T-shirts, cheap-ish beer (that you can even put on the stage during the gig), looks like an instant new favourite. One-man orchestra opens the proceedings at 9pm, and does a good job. Drum machine, cymbals, old hammond and a voice. Without guitars he still makes some kind of blues-y rock'n'roll. Of course he looks a bit like a cross between Bruce Forsyth and a sheep, and if he were singing in the Phoenix Club you would think he's got comedy value. But when he drags a guitarist for the last couple of songs, he ups the ante, and the music's really good, maaan.

Next up is the same guitarist man indeed. Pure blues, gulping whiskey between songs (there's a funny moment when he stomps so hard on the floor, the bottle starts to sway so he has to pick it up for a swig while he's still playing), bottleneck and all, he's class. I know my brother (he used to play me the blues sometimes) would love him. Had to congratulate him after the show.

Hey, three men on stage, that's a big band now ! The Soledad Brothers take the stage, the sound goes up many notches, and straight from the off it's no-frills rock'n'roll, the true garage sound of Detroit. They make a wonderful racket and never relent. The drummer's well up for it, it's shouty, it's dirty, harmonica and baritone sax make one or several appearances, I can't say any song sounds different from one another (although there is a slow number they play), but they sure now how to rock and roll. Can't argue with that. Funnily, there's not much moshing, it's more head-bobbing and chin-stroking. When they come back for the encore, it's more non-nonsense rock'n'roll, guitarist/singer presents his band, plays in the middle of the crowd, drums are being trashed, and everyone leaves the place well-satisfied. OK, they don't interact much (apart from the drummer, or during the encore), but it's just in keeping with the show : reckless pace, no time for inter-song banter or anecdotes, they don't need that.

You know, it's that type of gig that won't make me listen to their albums again (unlike the Trail of Dead), but it feels good. Finishing way past the midnight hour, I can just about limp to get the last train home, so that's a cool ending to a cool evening. Only my left ear's still in a bit of pain. Oh, and once more, I don't recall much smoking (and I do mean cigarettes). But then I think there's a very rational explanation this time : they never let you off, so no time for even considering lighting one up.

The Mars Volta    Elysée Montmatre    15/3/2005 **

Two stars ? Well I'm not rating the performance here, just how much I enjoyed the show. No support and an early kick-off (about 8.30pm). Seven of them onstage, not quite three drumkits, but three people playing some kind of percussions anyway. Songs ? What's a song ? Maybe they stop 3 times during the whole show, not more than 30s each time. Most of the time, it's just people who clap inbetween bits of music (when it goes very quiet), I'm sure they know when is appropriate. Me, I just recognise bits of parts of songs this time. Tonight, I have found what prog-rock is, and I'm not sure I want much more. Noodling is the plat du jour, hairy rockers and singer with long hair who contorsions a lot and sings in a rather high-pitch voice are the main ingredients. Exactly what I imagined prog-rock to sound and look. No doubt Omar and Cedric know their stuff and are a proper show, yes it's (very) competent and highly impressive, but frankly I just can't connect. Maybe I should live in the early 70s for that. I'm sure most people went 'aaaaaahhhh!' and 'oooooooooohhh!', but excuse me, wasn't music a pleasure you're supposed to share ? It's right for Elysée Montmartre (definitely not my favourite venue), I know it's 'clever', but hey, I prefer to ditch the prog and keep on rolling. Two notable things tonight : it's the longest single-act show I've been to in years (about 1h50 ?), and there were hardly any smokers. Which is weird and unusual, maybe it was a non-smoking gig.

...And You Will Know Us By The Trail Of Dead+Dead Meadow    La Maroquinerie    14/3/2005 *****    (photos)

Dead Meadow ? You won't find that many bands whose name describe their music that accurately. Long and monotonous songs like a meadow, and dead because not much happens really. So yeah, dark not-so-brooding rock'n'roll, they don't even say who they are and where they're from, I had to look on the web to find out who they were. It's not very engaging. I've seen far worse, but I've seen much better too. Incidentally, it's the longest set (about one hour) I've possibly ever seen by a support band.

The last time I saw two drumkits on a stage, it was when the Warlocks played. But that's where the comparisons end. Trail of Dead appear onstage at a time when the Bravery had long finished their set just a week before. After the intro music, two guys take indeed place behind their respective kits. But notwithstanding the fact that some songs or bits of songs use only one drummer, they mostly complement each other, and when they drum the same loud stuff together, then noise is fucking HUGE. Loud and noisy describes the gig. It takes one song for Conrad Keely to find his voice, but there's no let off after that. So Conrad and Jason Reece alternate as drummers/guitarists/singers, and the other drummer plays the keys sometimes. And they're all quite good at what they do. I don't really know the titles of songs, but I recognise most of them. There's much action in the moshpit, and the revelation is that behind these successive walls of noise, you will still find a melody here and there. Most notable is the first song of the encore which is just Conrad singing and playing the guitar, and Doni (the second drummer) at the keyboards. Then the double-axe turns up and they go into overdrive, advertising Pernod inbetween the songs. They seem to be having fun onstage, and this is well shared with the audience. The drums are being trashed, it finishes at11pm, the latest it's been for a gig in a long long time. The first time I'd been to Maroquinerie, Merz was playing, there must have been about 50 of us, and it was very quiet. This time, it's the loudest I've heard the place, it's packed, and it's a triumph. Just follow the Trail...

Bloc Party.+Chromeo    8/3/2005    La Boule Noire *****

The ankle, I thought, was better, but going to the gig was still painful. Arriving straight at 7.30, I was quite surprised to a) meet John from footie just outside the venue, b) to find that there was very little queue. Well, in fact, I don't know if it was the struggle to walk to the place, but I found myself entering the wrong venue for some bizarre reason (the nearby Cigale). Though John was trying to get ticket to the right gig. So a few metres further I found the expectedly massive queue. Mind you, when the doors opened it was still fairly quick to get in. And an even better surprise : when I walked in, it wasn't yet packed, and I got right in front of the stage, slightly to the side, cos I knew I couldn't dance or mosh on one leg !

Chromeo were supporting, some French Canadian guys. Not too bad,  Flying V with dance is not an usual association, but they perform their trick well, sounding like Daft Punk with more guitars, and get the crowd going a bit. Too much vocoder however is not a good thing, and the best track is former single Needy Girl, where the vocoder-happy man refrains a bit and plays the bass instead. Still, they outstayed their welcome by one song, which was a pretty bad move, changing the rather positive reception into boos.

Bloc Party. made themselves be waited, a bit. But then the intro music starts, they run onstage with a big smile, and here they are : Kele with shorter hair but still with dreads, Russell as always looking like a shy but happy 15-year old, Matt keeping is shirt on for just one song, and Gordon still very quiet and self-effaced. At some point during the set he rises to the top of one of the monitors...then walks away back to the stage with not as much as a leap. They start with the album opener (Like Eating Glass), and madness sets in in front of the stage already. Mayhem ensues immediately with Banquet, and Kele has to calm everyone down, saying something like 'It'just about jumping up and down and sideways, not walking on other people and crushing them'. The photographers are quickly expelled from their pit to leave the bouncers take over. Every song is a hit, and even the quiet songs all have a little riotous part, brought forward live even more than on the album. Matt throws a drumstick at the crowd, only to see it crash on the ceiling and land in front of Gordon, there's loads of fun being had onstage. There's one point where Kele says 'this is turning into one of my favourite gigs ever', which may be what he says everywhere, but still rings true, and after that they launch themselves into the amazing  Luno, and more frenzied moshing duly happens. Actually, this is just as riotous as The Libs last september in the same venue, if not more ! There's a point where Kele asks if anyone was there at La Cigale 'last summer' (though it was only November...), and surprisingly there's very few shouts, I feel very privileded. They play new songs and old favourites, and nicely finish the main set with Little Thoughts, their only single so far that's not on the album. The encore starts with the quiet So Here We Are, although even the relatively restrained riffs at the end manage to trigger some kind of gentle moshing. This is just amazing. Then I shout for and get Staying Fat, great song, unfortunately marred by problems on Gordon's bass that take a little pulse out of it. The great introduction to Price Of Gas follows, but, just like on the record, I remain globally unimpressed by the song, it's the only one tonight were I sort of give up for the whole of 30 seconds maybe. The Answer naturally closes the hour-long set, in a predictable but no less enjoyable manner.

Wow, that certainly was some gig. My third BP gig, and they seem to have improved a lot. Kele's even singing better. Next time, they're supported by The Rakes, which could make it even more riotous (!), and there's a chance they'll have new songs. Yesterday, I thought The Bravery were rather good. But tonight I realise nobody can touch Bloc Party. these days. In fact, I only see one band who can top this gig. Four lads from South London play in La Cigale in May, and well, if you haven't guessed, just check the list above.

  As for my ankle, let's say the return was even more atrociously painful, I truly felt crippled, I hope I carry no injury next time. This was the best gig of the year so far, and if it weren't for my injury, would have been the most enjoyable in every way no doubt.

The Bravery+Guest    7/3/2005    Le Nouveau Casino ***

The trouble with 'Guest' these days, is they seem even more unlikely to turn up than Pete Babushambles. So on to The Bravery. Despite what you may have read, 'this year's Killers' are about as close to The Killers as Bloc Party. are to Franz F. i.e. not much at all. So here we've got a bass player that looks like Rimmer (from Red Dwarf) with added Rimmel, a keyboardist that's a cross between Brian Chase (YYYs) and Liam G, a guitarist who looks like an extra from The Cooper Temple Clause, and a singer that's like a younger and more engaging Morrissey with a funnier quiff. Oh and there's a drummer, but I couldn't really see him. And the music ? Well let's say it sounds like the album The Faint should have done after Danse Macabre. Hot Hot Heat is the other name that springs to mind. Similar voice too. So it's been heard more or less before, but that doesn't stop this gig being a great performance. Ok admittedly it's even shorter than what the Killers did (around the 40min mark, encore included), but it's never boring. OK they've got only 2 hits so far (or maybe just one, but 'Unconditional' is a sure fire hit when they probably re-release it: and when they'll have more songs it will be the set closer or the encore), but all the songs are good, and basically they rock. Not that much movement at the front, although I couldn't even try, having seriously fucked up my ankle playing footie the previous day ! They say they'd be back in May. I may be away then, but if I'm not, I hope I get my ankle back. A promising performance.

Queens Of The Stone Age    21/2/2005    Le Trabendo    *****    (photos)

A bit of a queue. Sober gig again, and not in the moshpit by choice. But good view. I decided to stay back because I was carrying a slight injury, it was cold, and I had already done QOTSA in the moshpit before (good fun by the way). The first great gig in quite a while. Josh may have been ill and coughing blood afterwards (hence the shortened but still long enough by recent non-QOTSA standards set), but it was still a choice performance. The sound in Trabendo is absolutely great, and this gig was just the ticket. Mark Lanegan guested as usual, Nick Oliveri gone, the rest of the band was like 2 years before. Another great performance, especially considering they had to pull out of the rest of the Europeon tour just after. All hail the Queens !

M83+Guest    18/2/2005    New Morning        *

'Guest' didn't turn up, so no support, and an hour to wait doing nothing (didn't drink there). And then...well a band that would be a decent support band, but are not engaging headliners. Four disparate French lads, drum sound too effect-laden that doesn't feel (a)live, a backing tape, synths waves, hardly distinctive guitars, and OK bass. It's all right, but really not anything over the CDs. Just a few 'Merci', but a band that doesn't communicate anything. They seem to be onstage for themselves, and well the response from the audience is just...very French. Loud cheers but this show's just us and them with no link in between. A very unimpressive encore. So if you get a chance to see them live...well don't bother. But do get the albums (well after this gig, I'm not so cool about the CDs either...)

Radio 4+Nadj    16/2/2005    Le Trabendo     ***

Support band OK (mad girl+drummer and good bass player, rock fine). Radio 4 short (is it a new trend?), new guitarist 2nd gig, so they hadn't had time to rehearse any more songs. Good but I've seen them better. The absence of the regular guitarist(is this temporary?) really showed. Half-empty venue, not a lot of dancing to start with, just a mad man with a Slipknot(!?!) T-Shirt, singer had to tell him to calm down, and had to re-start a song to make him calm down for the encore !!!

The Killers+Thirteen Senses    7/2/2005    Elysée Montmartre                *

Not so great, and very short. A definite rip-off.

I think they need at least a couple more albums to put on a decent show. Especially for the price, even considering it was Paris, it was very short (under 50 minutes, encore included), and well, the fact that they indeed resorted to playing the Glamorous indie rock'n'roll to finish the main set (didn't know it, now I can officially testify it's shit) proves the point. The drummer was a good show, the bass player looked like a cross between Carl Barât and the blonde one with shaggy hair out of Air. The guitarist was wearing a dodgy jacket and chewing a gum, making him look like  a bloke from a pub rock-band rather than a superstar. As for Mr Flowers, he looked nice smart and all, but he could take a few leaves out of the 'Howlin' Pelle Almqvist book of how to stage a show. And when midway through the set he said 'there's a lot of hype surrounding us, we hope to prove that we are really good', or something along these lines, you really feel he should have refrained, because well that wasn't QUITE backed up by the rest of the performance. Besides, performing their best track 'Somebody told me' three quarters into the set wasn't the right idea. They should have finished the main set with 'All these things that I've done' (rather than the whole show : the singalong 'I've got soul but I'm not a soldier' might be federating, but I still think it's not that great a song, and its slow pace makes it right for ending the main set) and finished the encore by 'Somebody Told Me', as any Ash/Kasabian, etc. fan would tell you : especially when you haven't got many songs (not the case for Ash incidentally), just finish with a bang !!! The couple of new songs played sounded good enough, but for the moment I wouldn't want to check them back live again. Support band : Thirteen Senses, very quiet, but looking older than I imagined them, some kind sub-Keane stuff, with more guitars and less inspiration.

The Radio Dept.(+ Tara Angell)    29/1/2005    Le Nouveau Casino        ****    (photos)

Nice guy, lovely songs, cool gig. Briefly (too briefly) talked to Johan after the gig.  Very much an unassuming but smashing bloke. I then got the new songs through mail order sending cash to Sweden !

Kasabian 27/1/2005    Le Trabendo    ****    (photos)

No encore, but a good surprise, a very impressive performance, made me appreciate the album more.

Kasabian were indeed very good, better than I remembered from the album. Good lights, interesting looks: the guitarist -he was wearing large shades- looking like a cross between Liam G and Andrew Eldritch, although not so much when he ditched his glasses for the last two numbers, and the singer looked a bit like Bon Jovi meets Richard Branson (very popular with teenage French girls, underage drinking not a problem here apparently...). It was a very good gig (not far from great), absolutely no filler. I suppose it's easier to not have any when you do a short-ish gig (under an hour, no encore), but I really enjoyed it, and I can easily see them as a great festival band too !! And I've got to admit that the sound in these modern venues (a small one) is absolutely perfect !! It was snowing on the way there, which had put me in a good mood too

The Concretes+The Konki Duet 12/1/2005 Le Nouveau Casino        ***    (photos)

Another lovely band from Sweden. (and a strange support with softly strummed and sung covers of QOTSA, Public Enemy and....Visage).

 

Gigs 2004

The Delgados 13/12/2004 Le Nouveau Casino                    ****

Cool as ever.

Just a quick report from the Delgados, that was my last gig of the year. Only 6 of them onstage this time (they were 9 last time, the bass player could hardly move), basically they ditched the string quartet, although the two keyboardists used a violin and a cello on a few tracks. It was refreshing to have a gig start with just the word 'Bollocks!' pronounced by a giggling Emma, because the mic kept swivelling around its stand before she could even start ! After that, it was all tracks from the new album, plus nearly all the old favourites, including a superb acoustic rendition of 'Coming in from the cold' (possibly still my favourite Delgados track) and the magnificent 'No Danger' (but 'High Voltage!' there, they ended it up all loud and electric) as a rousing finale. Alun Woodward looks always spaced out, and Emma Pollock is like the coolest tiny guitarist-singer chick ever. And they don't just have the tunes, they've got great lyrics too.

If I hadn't been on me own, if they'd sprayed the audience with fake snow and if they were dressed as Santas, it'd have been my perfect gig this year.

The Faint + Bip-bip : 6/12/2004 Le Nouveau Casino            **

Not so much cop. If it wasn't for the very dynamic screen projections, it would have been rather bad.

Morrissey +James Maker 22/11/2004 Le Zenith    **

Venue too big. Disappointing.

To cut a long story short I feel a bit.....short-changed from the gig last night. I don't know if it's my total sobriety on the night, the 11pm curfew (or was it just Moz cutting it short ?) or the actual paucity of some of his material.

First bad point is I had no cash with me and Andy realised in the metro that he had forgotten his ticket so he just came back 2 minutes into the introductory tape. Conversely, it allowed me to meet a couple of people I hadn't seen for about 5 or 6 years !!!, and at the other end of the scale some cool scouse bloke that I'd just met at the Interpol gig on friday. The downside being that I was at the very back of the crowd. Mind you with my left ear slightly sore after 12 gigs in less than 3 months, and my whole body aching from a week-end of champagne, sauternes and football, I was hardly gonna go pogoing.

Huge letters at the back of the stage spelling MORRISSEY, a gong (that was disappointigly never used) behind the drummer....and starting with 'How Soon Is Now' wasn't a bad choice. Going straight into 'First of the Gang to Die' after that I thought 'waow!!!' but also 'hang on! That's a bit early in the set for that'. Morrissey was in a good mood, loads of friendly inter-songs banter, and trying to mix Smiths song and his own solo work. Unfortunately, the first half was bright and the second half was a bit dull. A bit like watching Arsenal go 4-0 up at half-time then ease off and leave it at that.....or more worryingly like watching Arsenal threaten to go riot, only score one and concede a late equaliser as seems to be the case these days. Because he played all his best songs from the first album, a good old song of his (albeit a bit of a slow version of November Spawned a Monster), and it culminated with a rapturously received 'Bigmouth Strikes Again'. But then he started to play the weaker songs of the new album, and after a couple of these, I thought 'Surely he can't play three boring songs in a row...'. But he did, and even more than that. As I said in my review of his last album, by the time he sings 'The world is full of crashing bores so I must be one of them', it pretty much sounds like an irony-free, realistic assessment. A couple of older songs (yeah, there were a couple of songs I didn't know) that didn't convince me, more of his weaker tracks from the last album, a couple of not-so-great Smiths tracks, and I realised I only knew the bit where he sings 'Every day is like sunday' from the song of the same name cos the rest is pretty boring....Even the tracks that I could still have appreciated in the context of other good tunes were contaminated by the sheer ennui caused by the surrounding songs. He really has too many dull songs. By the last song of the main set I couldn't even remember what song he was playing because I'd lost all focus (I was too far to be mesmerised by the man himself although I did see some gladioli flying at some point!).

The encore consisted of a single song, a not-so-impressive rendition of 'There is a light that never goes out' that sounded more like a soundtrack with Morrissey singing on top (cue the fade out while he was gone off-stage) than a live version. Overall it really felt a bit flat, more like Morrissey doing his cabaret act rather than a rock (OK he did sell the show as  'pop' himself) performance of any sort. And all in just about one hour and a half. The Soundtrack of Our Lives played for  longer than that for about the third of the price.. Now if only Johnny Marr had been there (I really wonder where Moz would be without him). Oh, and not one track from 'Vauxhall and I' is nigh-on criminal.

 Apparently everyone was happy with their gig. Maybe I go to too many gigs, but I do expect more from my artists, especially when they've got such a huge back catalogue. I mean, the first half was great, but I got really really bored in the end.

Even the T-shirts looked rather poor and were overpriced.

Interpol+Bloc Party. 19/11/2004 Elysée Montmartre    ****

Next time I see the Party, I know they will be headlining. Interpol ? Bizarre gig, stopped midway through because of ill drummer but finished OK after all. Not so impressed though, crowd too old, I guess it's the type you get for these bands, especially at Elysée Montmatre these days.

Compared to the Cigale gig, the crowds was obviously different, and since Bloc Party. were truly here as support band this time, they played a shorter set. Loads of people dressed in black (I had a beautiful flashy orange T-shirt with 'BLOC' at the front, and 'PARTY.' at the back...) who didn't dance more. We were maybe two or three people dancing like loonies at the start, but it all picked up after 'Banquet' and a good dozen bodies got going. The drummer didn't throw himself into the crowd this time, and they said they'd be playing La Boule Noire next year.

Looks like after Radio 4, Interpol suffered the Bloc Party. curse (on health not music). More moshing than I expected (but I was standing back a bit after BP.), bit halfway through the set, after they'd just performed the intro for a song, the drummer stops, goes backstage. The singer goes to check the news, comes back and says (in French, he seems to be fluent) : 'Sam's very ill, he's throwing up, we can't carry on without him', the guitarist says 'we're very sorry but we can't play without Sam'. A few boos, a fews shouts of 'Bloc Party.', a few cries of support ('Sam! Sam!'), and the drummer eventually shows back, quite livid, and says 'I'm gonna try to carry on'. To be honest, I hadn't noticed any weaknesses in his play before, and none after either. Having said that, they started over with a rather slow number, but they still played 'Slow Hands'. I think the set may have therefore be shorted than planned for, but they still played the encore, and a good half hour overall after the incident. No 'Stella' for the encore, but well done to them given the circumstances. Curfew was apparently planned for 10pm anyway. I've got a feeling timing's getting stricted in all the venues now.

Bright Eyes+Simon Joyner+Angil and the Hiddentracks   12/11/2004 Le Batofar    *****

No ticket bought in advance. Fortunately just enough available on the door. Uneven support but very interesting and unusual (and accessible after his gig) with samples and brass. 2nd support is sub-bright eyes. Bright Eyes very very excellent, except I have to miss the encore to catch the last train because the venue is not very well located and I don't feel like paying a fortune on taxi or staying out all night.

The Soundtrack Of Our Lives(+The Parisians) 17/11/2004 Le Nouveau Casino    *****    (photos)

Parisians=shit. TSOOL= average album, fantastic gig ! Ebbot on the bar, what a frontman! 

Kings Of Leon+Bloc Party.+Snow Patrol+Automato. 7/11/2004 La Cigale        *****

Radio 4 pulled out, but my first Bloc Party. gig was a stormer ! I really needed a new T-shirt after that. Couldn't wait for the headliners to buy it !

I was there for Bloc Party. mainly (especially after Radio 4 pulled out, them after Bloc Party. would have been just the most unbelievable of gigs), I turned up late, slightly worried that they'd play first. But gigs started late due to no band filling for the Radio.

Not much to comment on Automato, I arrived as they just started. Hip-hop with nothing special, maybe slight electronic leanings, but overall just the usual 'Fuck Bush!' thing. Still it's Ok as an appetiser to get your head nodding a bit, watching from the back and sipping a beer. I made my way to the front after that, anticipating the Party. to be next (after all Snow Patrol have released three albums, their last one was a success a few months old, whereas Bloc Party. had only released a handful of singles - that I had instantly embraced), but Snow Patrol turned up next. Not much to report, they only played their last album (older stuff being apparently shit), big grin on Gary's face, they've come a long way, but it's still pretty standard indie stuff. Good job by the programmers then, it would have been criminal to have them after Bloc Party. Because Bloc Party., now that was the 'plat de résistance', an instant hit. I was expecting them to be great, and they didn't disappoint me. Without yet an album to their name, their energy-packed set seemed like an instant hit with the crowd, everybody was dancing, the band looked happy and I've never witnessed such a reaction for a band without an album, doing their first show in Paris. Unbelievable. And there was me thinking I must be their only early fan in France ?!? I was understandably thrilled when I learned they were opening for Interpol later in the month !I went to get a T-shirt straight after their show, to swap for my soaked rag, so I could go and enjoy Kings of Leon quietly. I didn't know what to expect there, and I got a competent Rock'n'Roll show, not bad at all, and that kind of made me look forward to their new album. The album did disappoint me in the end.

Demolition Doll Rods+Kool Kleps 2/11/2004 La Maroquinerie    **

Only went to discover one of Karim's favourite bands(DDR that is). They're OK but not really my style. As for supporting Kleps, it's got to be seen to be believed. Cool in a kind of ...anti-cool way.

The Datsuns 24/10/2004 Elysée Montmartre        *    (photos)

For Karim, I gave in, shouldn't have. Maybe it was just me, but I feel it was one of my most pointless gigs ever. Rabbish.

The Hives 17/10/2004 Elysée Montmartre        *****    (photos)

Now that's what I call a proper show. I'm not too keen on The Elysée, but this was good. New T-shirt a must.

Razorlight 15/10/2004 Le Nouveau Casino        *****    (photos)

The stuff of stars. Legendary gig, good off-the-cuff stuff, great new track, and Johnny singing on the bar.

Ash+Sparta 8/10/2004 Le Trabendo                *****

Sparta OK (better than I thought). Ash fantastic. 2nd time this year, and I enjoyed it more (but I knew I would after the first time). Rock'n'roll, hard AND melodic.New T-shirt absolutely imperative for health reasons.

The Music 16/9/2004 La Boule Noire    *

Not very good. Lazy crowds, lazy band, not a patch on their gig from nearly 2 years before. And a bit of an anti-climax after the Libs.

The Libertines 14/9/2004 La Boule Noire    *****

Eventually made it in on the guests list, missed two or three songs, no Pete, but it was still a great mad gig. Thouroughly enjoyed it and really had to buy a T-shirt to swap for my Cale-customised sponge.

 It was pretty heaving inside, but I thing there must be some kind of shambolic edge missing in Peter's absence. Cool moment at the end though when Gary the drummer threw himself into the crowd just where I was !!

I think Carl dedicated the 'likely lads' song to Pete, but very quietly. I really don't know enough, so it was hard to say if he was missing him or if he was happy with being the sole frontman. But in a way I think it was decent to just not put that bit forward and go on quietly. Though I can't really imagine another Libs record without Pete. I'm not sure Pete would have arrived in a black taxi with black windows...

Mark Lanegan Band 2/9/2004 Le Nouveau Casino    *****

Went to the gig not knowing any song, it was still one of the best gigs this year ! The great dark rock rolls on.

Rock en Seine  27-28/8/2004 Domaine de St Cloud        ****    (photos)

Many bands. Highlights : Radio 4, Sonic Youth, The White Stripes. Mentions to Electrelane. B.R.M.C. pulled out.(oh, and the Mozster, initially scheduled too).

The gigs on friday were rather good. The organisation is not spot on, I didn't enjoy an hour's queue that much despite the fair weather !!! So I missed out on Blanche (mates of Jack), caught a bit of The Roots (OK) and Electrelane (rather good, their live play is closer to their first album than second), and then the better bit started : Sonic Youth were really good, shame that their set was rather short due to position on the bill. I hadn't even seen a picture of them for a while, so I was quite surprised to see the Lee Ranaldo's got all grey hair now and even more shocked that Steve Shelley doesn't look like a teenager anymore (though he still looks 20 years younger than the rest of them). Kim Gordon still looks like a sexy (a bit old though...) rock star. And the music's still great. Now to the main course : at last I could see the White Stripes live !!! And the immediate conclusion is that I'd jump at the chance to see them again !! Jack and Meg, Meg and Jack. I don't know about his 'tache (it's not that bad), but what I know now is that not only is Jack White a great guitar player, he is also an amazing singer. As for Meg, her simple drumming is effortlessly cool and efficient. And the way they revisit songs is just great : a slow version of 'Fell In Love With a Girl', 'Black Math' with the chords reversed !!!!???? (yes : chord 1 instead of 2 and vice-versa, doesn't sound like the same song at all, if he hadn't said what it was, I would have struggled to recognise it !!!!). No Meg singing (it wasn't such a cold cold night....), and an all too predictable encore of 7 Nation Army, predictable yet deliriously enjoyable, like Arsenal scoring a 4th in the dying minutes... So with them I guess every gig must be a different treat (and my mate who had seen them 3 times, jammy bastard, confirmed that).

The Chemical Brothers after that seemed like a (non-)live non-event. They had visuals and stuff, but I think it would have been great as an outdoor rave if people had really been into that, but looking at a stage and screen with people not dancing too much wasn't really the ideal choice.

The next day, no queue but massive rain showers. So it all went a bit muddy and slippery and the line-up wasn't very great either. Radio 4 were still very cool and I managed to get as close to the front as possible without breaking the first 10 metres of teenage Muse fans. But at least I could still dance a bit. BRMC pulled out due to ill drummer or something, which was a bit of a bummer. Auf der Maur deputised, she rocks and looks like a nice person, but still a bit short on tunes. So Muse headlined. A good show and some decent tracks, and while I'm glad I caught them live once, I know I wouldn't have bothered seeing them in the Zenith say, and I don't think I'll really want to see them again. I'd rather have the Stripes back.

PJ Harvey+Graham Coxon 23/6/2004 Le Zénith    ***

Well OK, but Zénith too big, and not too overwhelmed by PJ this time. Maybe it was just my state (first gig back from the operation : just like the year before, I had to forsake a couple).

The Von Bondies+Ima Robot 7/5/2004 La Maroquinerie    ****

The VBs better than the first time, very good indeed, but for me Ima Robot stole the show. Unexpected, unusual, varied. But most of all funky and rocking. A very good gig indeed.

Franz Ferdinand 22/4/2004 La Cigale    ****

(should have been Maroquinerie, sigh !). Bigger place, still a very good gig. I'd love to see them again to have a better opinion, but Zenith's just too big.

Ash 16/3/2004 La Boule Noire        ****

Boule Noire is great.  Ok there were many new songs from the then unreleased Meltdown, but they were so hard rocking it doesn't count as an excuse for the crowds not dancing. They only got going for the final Burn Baby Burn. But then everyone went berserk. Why the immobile first 70 minutes ?!? The gig itself was great, very very bad point for the guy carrying a skateboard on his back. This, as well as backpacks should be forbidden in the moshpit. If you want to carry a bag, just stay back you stupid fuckers !!!

The Vines 23/2/2004 La Boule Noire    ***

Made all the better by Jules' presence. Much better than their gig at Le Bataclan anyway.

The Von Bondies 10/2/2004 Le Nouveau Casino    ***    (photos)

First time in this venue. No enduring memory.

Super Furry Animals 23/1/2004 La Maroquinerie    *****    (photos)

First of the year, great zany stuff and the most extravagant encore ever.

The Super Furry Animals were actually very good. A few props on stage (singing through an astronaut's helmet, chewing celery), and the most extravagant encore I have ever witnessed. They finished the set with the always brilliant 'the man don't give a fuck', and then only one of them stayed on for about 15 minutes just conjuring up some hardcore techno with his laptop. And then they all came back dressed up as yetis, miming rather that playing on 'man don't give a fuck' again, pulling faces and just monkeying around wildly. Mad f*****s ! Left me with a big grin on my face!

 

Gigs 2003

The Strokes+Kings Of Leon 10/12/2003 Le Zenith    *****

First time in the Zenith for ages. Still too big but the sound is fantastic. Got trampled on my injured big toe in the moshpit all the time. Painful.But it was a great great gig. Got very drunk  with Jeff and Phil too. Gruff Rhys wearing a crash helmet on stage=great, gig-goer carrying a crash helmet in the moshpit=fucking insane ?!?!

Hot Hot Heat+The Raveonettes+The Bell Rays+My Morning Jacket 9/11/2003 La Cigale    ****    (photos)

 MMJ=hairy guitar stuff, not at all bad. Bell Rays=intense and energetic, amazing singer, a great live act, not a second is wasted. Raveonettes=I like them, very good performance too. HHH=pop madness, a very good act, but would have been better in a smaller venue like La Boule Noire.

One band less, so start 6.30, finish 10.30, but the same routine as the day before.

The Coral+The Warlocks+Martina Topley-Bird+The Sleepy Jackson+Stellastarr* 8/11/2003 La Cigale    ***    (photos)

Stellastarr*=good, The Sleepys=mad, suprising and great !, MTB=can't remember much, still a great voice though.  Warlocks=boring shit, second drummer doesn't add anything, pathetic really. Coral=some great songs, half-arsed performance.

They really go metronomic for this stuff in Paris. Start 6pm, not one minute late, each band playing around 30 minutes, maybe 45  for the Coral, curfew 10.45, absolutely no time for the bands to talk between songs.

Black Rebel Motorcycle Club+Support 23/10/2003 Elysée Montmartre    ***

Support=interesting cover of Blue Monday. Good but not so great. Attention drifts away sometimes during gigs like this.

Boban Markovic Orkestar 10/10/2003 New Morning

A Curiosity, very interesting and with  very many encores.

The Thrills 25/9/2003 La Maroquinerie    ***

Bumped into Des so had a few drinks. Decent but not outstanding gig.

Spiritualized 21/9/2003 Café de la Danse    ***

Unusual venue that I don't really like (apart from its location near Slim's), Jason Pierce sitting all through but great musical performance.

Rock en Seine festival 27/8/2003 Domaine de St Cloud    ***    (photos)

Electric Six (an OK gig), PJ Harvey (great), Massive Attack (hypnotising, but a bit too big and bland at times). Morcheeba (a couple of decent tracks), Beck (passed me by). Lying on the grass, watching the sun set during Tom Mc Rae's set was a beautiful moment.

Radio 4+Operator 26/6/2003 La Boule Noire            *****

Good interesting support band. A bit of a fight in front of the stage during Radio 4. But the band themselves were great. Good gig. Got to talk with the support band a bit after the gig too (nice).

Queens Of The Stone Age 11/6/2003 Elysée Montmartre        *****    (photos)

A very hot day. A very hot gig. What are T-shirts for ? Fan-ta-stic !

Mogwai 5/6/2003 Elysée Montmartre        ****

Pre 'Happy songs for happy people', a promising taster plus a few older songs. I'll have to see them again.

The Gotan Project 1/5/2003 Warwick Arts Centre    *

Got coaxed into this one, still not a fan.

Supergrass 8/4/2003 Olympia    ***    (photos)

Another one to disappoint me at Olympia. Should have been feeling great, but wasn't. Sometimes it may just be about me.

The Delgados 19/2/2003 La Boule Noire        *****

With string quartet then, not enough space for all of them on the stage. Very cool, laid-back, friendly and smile-inducing.

Sigur Ros 13/2/2003 Le Grand Rex            ****

Just what you'd expect. An all-seater, but majestic mesmerising stuff.

It's quite impressive in the way of atmosphere : not a word is said inbetween the songs. And not even 'thank you' at the end : they all came back twice instead (band+string quarted) for a little bow in front of the stage, which was quite fitting.

 

Gigs 2002

The Vines 22/10/2002 Le Bataclan    **

Got soaked waiting outside for this gig, and my coat was even damper when I got it back afterwards. Very average gig from the ever unpredictable Craig Nicholls (now diagnosed with Asparagus Syndrom or something). Maybe just an anticlimax after the gig of the night before.

The Music 21/10/2002 La Cigale        *****

Funny how in my memory this gig happened in December. Maybe it's just because I mentioned it in a december review e-mail. Still it was a great gig when I danced all along while completely sober.

Doves 19/10/2002 Le Trabendo        *****

Top band, top gig. And they support City (thus answering some cunt in the crowd who shouted 'Manchester United'). Pounding to start the gig, and Spaceface for a groovy encore.

Dot Allison 10/6/2002 Café de la Danse        *

Free ticket. Thanks for that : short gig, shit gig, I wouldn't have been pleased having to pay for that, I'm sure she can do better, only one song from the first album.

 

Gigs 2001

Starsailor+Matthew Jay 20/11/2001 La Maroquinerie    ***

Matthew Jay R.I.P. Starsailor : 2nd time @ Maroquinerie : a lot different from the first time. The venue's full. Mood and people make it a very average gig. Nice guy, lovely sounds, but something was missing. From me.

New Order+Bosco+Benjamin Biolay 12/11/2001 L'Olympia    ***

Very disappointing. Still not happy with the sound in Olympia, and maybe I was too down but I expected a lot more from one of my favourite bands. Get the video from the Reading 1998 gig if you can !

Björk 1/11/2001 Théâtre des Champs-Elysées        ******

Amazing. I can distantiate myself from the review I wrote then. But it was a must-see performance. Over 70 quid gig, but a once in a lifetime performance.

Lucianno Pavarotti+Guests 16/10/2001 P.O.P.Bercy

Absolutely no search despite  happeing only a month after September 11th. Got invited by a mate. I'll never be a fan of opera stuff, but I guess it's got to be seen once.

JJ72 23/2/2001 Le Trabendo        ****

Got there with Andy. Got trashed on vodka at the bar. Cannot remember the end of the gig. Not the start either. Shame, I'm sure I'd have loved it. Bumped into Mark Greaney in Oxford Street a year or two later, but he seemed in a hurry.

 

Gigs 2000

Roni Size/Repräzent+Coldplay+JJ72 10/11/2000 La Cigale        ****

Missed JJ72 unfortunately due to having left the lights of the car on at work, so no battery ! Coldplay nice, and accessible at the time. Strange to have Roni Size after that, bouncing soil perfect in the venue, great dynamic stuff, a lot of floor stomping and head bobbing !

Radiohead+Sigur Ros 20/9/2000 Châpiteau St Denis        ****

Just caught the end of Sigur Ros from a distance. Radiohead. A little too far, needed the screens, it's far far too big, but musically a top gig.

The Cure 26/4/2000 Le Zenith    ***

Can't quite remember this one. Slightly disappointing I think.

Merz 11/04/2000 La Maroquinerie        *****

My most intimate gig ever. Made me think this place was always like that but no. Everyone just sitting when they started. I was the first to get up and get near the stage as he said 'come on don't be afraid'. Only one album, so just the songs from it, but all sweet and lovely, and got the chance to stay on and talk quite a few minutes with the man Conrad. Top bloke, nice and modest. Now, if someone could just tell me where my Merz T-shirt is, I would be very pleased. Can't see how I would have lost it, but I can't find it no more. I'm gutted. Thinking of it now, was a bit like that year's Radio Dept.

Primal Scream 8/4/2000 Elysée Montmartre    ****

With Kevin Shields of course. Great gig, can't remember much, Higher than the sun + Kick out the jams for the encore unless I'm very mistaken. Loads of stuff from Xterminator. On the rocking side, I'd love to just see them again, wasn't very focussed for that gig I guess. (maybe it's just that it was 5 years ago at time of writing this !)

Supergrass+Autour de Lucie 28/3/2000 La Cigale        *****

AdL nice (John had a few words with the singer), Supergrass on Top Form. Very very good

Asian Dub Foundation(+various) 21/3/2000 La Mutualité        *****

With Skand, Mozz and a few others. Grass and booze, very dynamic gig, excellent, and I even went stage-diving ! Free Satpal Ram ! (Well I think he's been freed since).

Travis 19/3/2000 Elysée Montmartre        ****

So it was Rugby and gig that day ? Oh well, in those days most nights were spent in the Floozy, I was fat and drinking all the time. It seemed very easy then, I never had a problem ! Nice gig again, charming Scottish people, Britney's 'one more time' cover during the encore, and tracks from first two albums. They've never been as good since (I guess).

 

Before 2000

Dubstar+Mulu ??/??/1997    The Planet, Coventry    ***

With a few colleagues from GPT. A few beers before the gig, and then I found Pastis at the venue. Bad idea. The gig itself, nice and OK with tracks from the lovely first album and the then-soon-to-be-released second album.

The Wailers    21/5/1997    The que Club, Birmingham    ****

Bob Marley is not back, but Aston 'Family Man' Barrett still performs bass duties during this great reggae gig. Is this like a covers band, despite featuring a couple of original members ? Nevermind, they play only classic tunes, and it's a cool vibe. A French man (?!?) plays the guitar for them on this tour, it's cool to have a little chat with him afterwards. And that nagging question : is this man in the audience actually Robert Plant, or is he indeed called Francis ?

Stereolab     20/11/1996 Killburn National Ballroom, London     *****

Emperor-Tomato-Ketchup era, just after the Fluorescences EP release Went in with Isa and Dave which sort of held me back, but it was absolutely great.

The Cure at NEC, Birminghal/Earls Court, London 96 : all sitting is no good. Frustrating gigs.

Eurockéennes 1995 Blur+The Cure    ****

Summer festival, scorching heat, sleeping in the car, and brand new never heard before Cure songs.

Gladiators in Brittany. Weeding and 'jogging' all night. Reggae at its best.    *****

The Cure+Cranes 20/10/1992 Le Zénith        *****

The Cure, good as ever. Very good gig and loud. Many years on, I don't remember it much, except that going out of the Zenith I had pins and needles. Introduced me to Cranes, a then very good little band.

The Cure 21/6/1990 Place de la République        *****

Last day of the Baccalauréat, free gig in open air, choking so much at the front I had to go back gasping for air after only four songs. But what a gig, all the classics, plus favourites like Lament and The Same Deep Water as You. Memorable.