Gig Round Up

It sounds like such an ‘edgy teen’ thing to say, but given the way the world has gone to shit recently, you’d have thought that musicians – given their platform, and an unrivalled direct ability to disseminate a message – would be discussing the topic that dominates global political discourse.

The only response we really have is the Music Declares Emergency group; a collective of musicians, producers, and labels that aim to call for governmental action. The list isn’t bristling with huge names, though notable inclusions include Massive Attack, The XX, IDLES, and Yannis Philippakis (though strangely, not the rest of Foals). The group, as of yet, just exists. They haven’t forwarded any motions or put forth a campaign. They simply exist as a symbolic presence of climate care amongst musicians and bands. It is not yet enough; but at least it’s something; a small step in the right direction.

So, what is it? Do artists just feel that it’s not worth talking about? Do commercial pressures demand they avoid the topic?

I cannot argue that no one has done anything. There was, of course, ‘Earth’; the Lil Dicky-led collab that featured huge artists such as Justin Bieber, Ariana Grande, and

Miley Cyrus to name a few. However, despite only being released in April this year, literally everyone has already forgotten about it. With a little over 100,000,000 streams on Spotify, it can’t exactly be called a failure; despite its peak at only 17 on the US charts. But perhaps it was this, a song that didn’t do incredibly – regardless of its immense star power – that killed climate change on the music market. After all, if a ‘song’ featuring the largest popstars in the world couldn’t outsell a song about being Chris Brown for the day (also by Lil Dicky), what incentive does the rest of pop have to try and cash in?

Not that the song really tried. Supposedly trying to unite the world over shared love for our planet, the song was made difficult to use publicly or on air due to its non family-friendly nature.

For the Extinction Rebellion protests in London, there were small performances from Disclosure, and Declan McKenna – credit to them – but honestly, the most achingly infuriating thing is the response that the election could rouse, with no similar widespread response for climate activism. #Grime4Corbyn. JME interviewed JC. Rag’n’Bone Man publicly endorsing Labour. Christ, Wolf Alice performed a gig at a ‘Tories Out’ march.

Across the lake, even Taylor Swift – of all people – endorsed the Democratic Party. The older musicians who cut their teeth criticising those in power, like Eminem, Green Day, Rage Against the Machine, now fall silent on the issue.

As it stands, you’d have thought the more politicised genres at the very least – punk hip-hop, grime – could have benefitted in a big way. And yet, there is a noted lack of popular artists of these genres even attempting to capitalise on the low-hanging fruit for inspiration; our warming planet.

Gary Numan, 12/16/19, O2 Academy

“You’re too young to be here!” was the first thing said to me upon arriving at the O2 Academy last Saturday night to see Gary Numan. Indeed, the tour marks the 40th anniversary of Numan’s career as a soloist, a date that long predates my birth. Whilst Numan enjoyed his heyday in the 1980s, following the release of his album ‘The Pleasure Principle’ in 1979, his back catalogue still continues to shape much of synth music, as well as inspire the post-punk and goth scene that still stands in Leeds.

For a fan of his early material, the show felt slightly alienating: opening with the 2018 track ‘My Name is Ruin’, his setlist went on to push his new style and material to the forefront. Whilst his early works sweetly balanced eeriness with pop-y melodies, the later tracks and their brash, guitar-heavy delivery leant towards nu metal, with no shortage in tack. The branding of the tour echoed this mainstream metal/goth pastiche, with vapid graphics and a too-intense light show.

The hits weren’t completely absent, however. Numan peppered the set with his well-known synth-pop bangers, from ‘Cars’ to ‘Down in the Park’, which were only slightly tainted by the fuzzy guitar work. Towards the end of the evening, Numan performed ‘Are Friends Electric?’ by Tubeway Army, which served as a nice reminder of his strength as a musician.

Musical taste and stylistic preferences aside, Gary Numan put on an impressive show; his dance moves were as sharp and campy as ever, his stares as dramatic and his voice untouched by age. Beyond the deterioration in style, Numan’s character and performance showed that he’s still got it after all.

Safi Bugel

Working Men’s Club, 16/10/19, Brudenell Social Club

Selling out the Brudenell’s community room is an impressive feat for a band that has only released three songs; the sudden popularity of newcomers Working Men’s Club speaks to the massive amounts of enthusiasm generated around the band and the development of a dedicated Yorkshire fanbase. Their latest single, ‘Teeth’, is the perfect dark disco track, with vague eerie lyrics spoken over pulsing synth and the contagious beat of the drum machine. Their music can be described as post punk revival, heavily influenced by bands such as Talking Heads and Television, yet they have not fallen in the trap of emulating the past and their sound moves beyond simply imitation.

What was first immediately shocking upon arriving at the venue was the age composition of the room. For such a young, fresh faced band you would expect a similarly youthful audience, yet the median age of the room must have been over 40. Initially I assumed I had walked into the wrong room and this was the crowd for the Thurston Moore gig also on that night at the Brude – the mature crowd seemed more likely to be aging Sonic Youth fans than there to see the post-punk newcomers. Yet, if you consider the fact that Working Men’s club have been a firm favourite of Radio 6 DJs since the release of their single ‘Bad Blood’, their popularity among middle aged men begins to make more sense. And perhaps the inspiration drawn by the band from 70s and 80s new wave arouses a certain nostalgia which appeals to an audience older than your average indie rock gig.

Working Men’s club arrived on stage to raucous cheers. Two songs into their set and the lead singer, Sydney MinskySargeant, fixes the crowd with a disapproving stare and asks “Are you going to move or stay still all night long?” Despite his objections, the audience remains largely stationary.

His performance style drips with confidence as he struts about on stage shirtless, waving a tambourine or hitting a cowbell, with an arrogant charm reminiscent of Jarvis Cocker. With his self-assuredness and swagger, it is hard to believe that he is still in his teens.

Briefly between songs he shouts a vague sentiment along the lines of “Fuck the police, up Extinction Rebellion”, the sudden outburst of which confuses rather than arouses the audience in any way.

Overall, the gig proved more than anything the paradoxical curse of being played on Radio 6: you’ll sell out a venue, but no one is going to dance because of their arthritic hips.