The Parlotones + Josh Bray @ Birmingham Academy 2, 22nd November 2010
What a pleasant surprise were support act West Country acoustic, singer/songwriter Josh Bray and electric trio. For one of tender years he’s commendably steeped in the fine milieu of UK sages such as Nick Drake, John Martin and Bert Jansch, whist US exponents of the alt-Country/Folk/Blues such as The Allman Bros and Lowell George/Little Feat are subtly evident. A suggestion of Neil Tennant/Al Stewart distinguishing vocal signatures perhaps. But no homage/tribute here. Outstanding musicianship and incisive, embracing songwriting set these eclectic, chameleon magpies apart. Radio friendly as in damn fine when it gets the opportunity. Album out in 2011. Watch this space.
Set list: Damn it, they gave me a copy then I think I gave it back with Brum Live’s details on it. Back-stage JD debauchery takes its toll.
You know how it is. You’ve been badgered by someone to see this fantastic band, can’t believe you’ve never heard of them (err, because they just might be crap?) and so you go to the gig with a grumpy sense of contrary bloody-mindedness that you’re deliberately not going to enjoy yourself. We’ve all experienced that momentary aberration of sadness like when your loved-ones catch you watching Top Gear repeats on iPlayer after midnight. However, with their latest album, Stardust Galaxies, described brilliantly as the best South African release since Nelson Mandela, alt/Indie art rockers and keepers of the Sixties flame, The Parlotones had got to me.
Within the space of several songs my Damascene Conversion was absolute. Songs of innocence and experience, loves unrequited/loves unconsummated, love and loss, reflection, retribution, atonement, and nostalgia. And much, much more in their sometimes brooding, often celebratory, always intelligent lyricism. Yes, undoubtedly The Parlotones are unashamedly romantic: refreshing, dynamic, sincere and passionate but definitely not New Romo, heaven forbid. But also there’re delicious under-currents of Sixties crafted Pop influences.
The band wear funereal formal black with matching red ties. But ever the focus is on guitar and vocals, Khan Morbee. Slight of frame, erratically mascaraed, intensely focused, but no broody introspection, his voice has that clarity of poignancy reminiscent of Mark Almond. And his contained, mime-like gestures, diva discreet flourishes echo, compliment and contrast the upbeat anthemic themes as with ‘Science/Push Me To The Floor/Dancing or the embracing Torch ballads of ‘Disappear/Beautiful’, the latter having subtle nuances of Phil Spectors’s teen pillow confessional ballad, ‘To Know Him Is To Love Him.’ (And I’ll confess to a little teary sniff during ‘Sun Comes Out’.) Morbee’s sincerity is never forced but holds us with charismatic, fragile intensity.
They are masters of the crafted, seamless transition from bridge to verse to infectious chorus. Anthemic adjectives can be cliched laziness but never more apposite than here. The dynamic of piano keyboards and moody synths and guitars sfx courtesy of Hodgsons Glenn/Paul are lent atmospheric intensity by the superb lighting sequencing, providing mesmeric backdrops of silhouette, shade and blazing comets of smack in the kisser synapse melting intensity. The synchronised kick-drum/strobefest pile-driven by Neil Pauw was a jaw-dropper. The encore set closer was the reflective, intensely evocative ‘Remember When?’ With Morbee sans guitar, embracing the mic and orchestrating the song’s ebb and flow, the effect was emotive and exquisite.
It may smack of pot/kettle hypocrisy this; but the 02 was capacity lite (delightful crowd who met the band post gig) given that the band had come all the way from RSA, having done Brum several time last year, and the lovely Jackie was over from the US specifically to see them. So, best keep an eye on the new year listings. And prepare to have your ears orgasm…’Why look to the Moon when we have the Stars?’
Set list: (approx) Life, Oh My, Bird, Stars Fall Down, Giant, I’ll Be There, Welcome, Sun Comes Out, Dancing, Over Exposed, Beautiful, Science, Baby Be Mine (that’s when the wavy lighters and mobiles came out!) Push Me To The Floor. Encore closer, Remember When.
Review – John Kennedy
Photos – Ian Dunn
What a lovely article! It was so nice to meet you at the concert. Thank you for your kind words.
Small World, big hugs. Thanks for your kind response. xx John & Ian.
I agree with every word – they are fantastic. They deserve to be much more widely known in the UK.