The Waterboys @ Warwick Arts Centre, 2nd February 2015
This is the first of two dates that The Waterboys are playing in support of their new album Modern Blues which was released in January. The band start with the opening track from the album, Destinies Entwined which has a classic rock vibe with blues overtones. Mike Scott’s endearing vocals become more prominent in the mix as the song proceeds and, when performed live, the track sounds much heavier with the rhythm section adding depth. Part way through the song, the animated Steve Wickham makes an entrance and unleashes his stupendous fiddle playing to a welcoming audience. The set continues in the format of the album with November Tale and the heavy blues number, Still A Freak. Scott announces that Still A Freak is autobiographical and, after hearing it at The Moseley Folk Festival in the Summer, it has a catchy refrain that makes the song memorable. After a trio of new songs, Scott takes to another keyboard for the Waterboys classic paean to Patti Smith, A Girl Called Johnny. With its striking syncopated chords and vivid lyrical imagery, this song encapsulates the audience and, as it remains my favourite Waterboys track, brings a smile to my face.
The set returns to the new album with The Girl Who Slept for Scotland, which Mike Scott introduces by asking whether any of his former lovers are in the venue with a glint in his eye. This sees The Waterboys’ latest guitarist, Zach Ernst exhibit his slide guitar prowess and brings a bluesier feel to the songs throughout the set. Interestingly, there is one member of the audience who dislikes the addition of Ernst to the mix and he makes sure his opinion is heard, I, however, felt the outburst was uncalled for and enjoy the input and slant that Zach brings.
The Nearest Thing To Hip is a track detailing Scott’s sadness regarding the loss of record and book stores which encapsulates a feeling that many of us have had. The incredibly uplifting Glastonbury Song with its exploration of belief sees many members of the audience moving in appreciation especially as the track segues into an alternative ending. As Rosalind (You Married The Wrong Guy) draws to a close the band exit the stage leaving Mike and Brother Paul Brown to play the tender, Beautiful Now. Paul is one of the most flamboyant keyboard players I have ever seen, his outfit is unique and a throwback to the late ‘60’s whilst his utter exuberance is infectious, yet, he has the sensitivity to play what the song requires. The band return en-masse for I Can See Elvis and The Three Day Man, a track that appeared over thirty years ago on the eponymously named debut album, and then exit again leaving Mick and Steve to perform a stripped down version of Don’t Bang The Drum. The musical relationship that this partnership share is palpable, they naturally feel their way through the track drawing out its beauty.
Without leaving the keyboard, Scott awaits the return of the full band before performing their most famous track, The Whole Of The Moon, which has to be one of the most inspiriting songs ever written. Samples elegantly lead into Long Strange Golden Road which demonstrates Brother Paul’s keyboard talents at their finest, as the rhythm section of Ralph Salmins and David Hood provide a steadiness to the proceedings which allows the other members freedom to develop the track. This draws the main set to a close and the last hour and a half has showcased the new album at its finest; being played live. The return to the stage sees a cover version of Prince’s Purple Rain that remains faithful to the original whilst ensuring that it contains the Waterboys’ folk sensibilities whilst Scott’s vocals embrace the gut wrenching pain towards the end of the song. Interestingly, Prince appears to have returned the compliment by covering The Whole Of The Moon during his recent gig in London but I have yet to hear it. How Long Will I Love You? follows afterwards with Scott quipping that someone is bound to wonder why he is performing an Ellie Goulding cover.
The final track is the rousing folk anthem Fisherman’s Blues that sees Wickham’s fiddle introduction lead into a magnificent “whoop” from Scott. The whole standing audience are swaying or dancing and embracing the upbeat atmosphere. As the band exit, you can’t help but sense the optimism that Mike Scott creates through his cleverly crafted lyrics and charming instrumentation. I defy anyone to watch The Waterboys live performance and to not have an increased sense of positivity throughout.
Review: Toni Woodward
Photograph: Paul Mac Manus – Copyright © Waterboys 2015