Simple Minds
Koko, London
- 7 November 2013
"A post punk nostalgia express"
There is always a huge risk of disappointment when revisiting your
childhood heroes in the present. The only other time I had seen Simple
Minds was way back in 1981 at the Capitol theatre Sydney during the
Sons and Fascination tour. They were supporting Australian also ran’s Icehouse. Despite an initially hostile reception from the largely
suburban audience, by half way through the set the whole place was on
fire with crazed dancing, and the security suddenly had to fight to
keep the stage. Needless to say this show had a huge influence on me at
the time, particularly as so many Australian alternative bands at the
time seemed to revel in their cack handed incompetitance and anti
musicianship. Here was a group with amazing hypnotic tightness
delivering a dark, driving, electronic/band hybrid. But I digress…
It
was a mixture of trepidation and excitement I received the call from a
pal that we were ‘on’ for the sold out night at Koko, put on to
celebrate 40 years of Virgin records.
I had watched in horror to
see the sudden transformation of Simple Minds from a dark, futuristic
European sounding band to an overblown, stodgy hands in the air,
everybody sing along now stadium band, all vaguely uplifting songs full
of the words ‘light’ ‘shine’. The sordid fake spirituality of class A’s
and unconditional worship. The question is, which Simple Minds would we
get tonight?
The venue was of course heaving, so I was further
delighted to find we had ‘gold passes’ to the, ahem, directors box to
the right of the stage. Looking down we could see the stage from above.
The geek in me revelled at seeing no fewer than five synthesisers in
the keyboard rack, no laptop and controller nonsense here. The
guitarist’s foot pedals alone appeared to be the size of a small
holding in Cumbria. The audience seemed to consist mainly of bald men
in their best Saturday night shirts and their partners wearing their
best office friendly new wave clothes. But that is unnecessarily
unkind, and I learned to love my fellow travellers on the post punk
nostalgia express, as you will discover.
Finally the lights dimmed and I took a slug of my mortgage breaking
beer.
Track
one was entirely instrumental Broken Glass Park, a sleek sequencer
affair, with gradually building strings and bass. A good scene-setter. And
here’s Jim! Not looking too bad either, the 80’s/90’s perm poodle tamed
to a sensible short all over. Sarah Brown looking exquisitely Blade
Runneresque in brown and mustard tartan dress and immaculately coffered
hair. They plod through the rather pedestrian Waterfront, only really
saved by the note perfect harmonic guitar.
They follow through
with a surprisingly frenetic I Travel,
and I look down to see almost
the whole audience mouthing the words. Following up with a very
moody Today I Died Again the concert was taking on darker hues
than I had
any right to expect. The brittle funk of Sweat In Bullet followed up
by Hunter and the Hunted and Glittering Prize, both sounding better
live minus the Steve Lillywhite castrated production on the albums. The first section ended with a pumping version of New Gold Dream, all
the better for its succinctness and energy.
By
this stage I was starting to get a bit drunk my balcony dancing was
threatening to become a stage diving tragedy, so forgive me if things
get hazy from here. After a short break the stage starts humming to
another instrumental Speed You Love To Me Sarah Brown takes centre
stage for a very warm and affectionate version of Kraftwerk's Neon Lights Jim
(now sweating profusely and smiling like a loon) retakes the stage for Someone, Somewhere in Summertime, which has to be restarted after Jim
missing his cue. “It's called live music people, these things still
happen”, and the crowd let out a collective ‘awww’. Blood Diamonds
follows and sounds strangely dated but all is forgiven with hypnotic
and harsh Fear Of Gods complete with breaking glass guitar beautiful
fluid circular bass. If only I’d brought my Zurna for the shrieking
horns, though I doubt my fellow travellers would have appreciated it.
The American and Love Song follow in quick succession and I am
again impressed with how ‘into it’ this strangely conservative audience
are, even joining in the slightly breathless “Ameri, Ameri, Ameri
Ameri, American” chorus. This section ends with a fantastic version of Pleasantly Disturbed, with Charlie Burchill switching seamlessly
between guitar and violin, the flash git.
By now I was thinking of leaving, they had played so many great early
songs and I feared to have the vibe ruined by last minute cheese.
However they nailed me to the floor by returning with a monumental
version of Theme For Great Cities (which, incidentally, was the intro
tune for my radio show in Australia years ago, 'New music'.
Pretentious, moi?).
Well, as I feared they had to finish with my two least favourite crowd
pleasers Don’t You Forget About Me and a very over extended take on
Alive And Kicking, however it was hard to begrudge both Simple Minds
and the audience their 'lighters in the air, all sing along' moment. In
fact, if I am honest I am swept along a bit myself. Its been a long,
dark path we’ve all taken and a bit of levity was earned by all.
“Thank you for seeing Simple Minds” says Jim for the last of a dozen
times during the show. No. Thank you Simple Minds for delivering more
than I expected. 8/10
Set list:
Broken Glass Park,
Waterfront,
I Travel,
Today I Died Again,
Sweat In Bullet,
Hunter And The Hunted,
Glittering Prize,
New Gold Dream, [break]
Speed Your Love To Me,
Neon Lights,
Someone, Somewhere, in Summertime,
Blood Diamonds,
Fear Of Gods,
The American,
Love Song,
Pleasantly Disturbed,
[Encore:]
Theme For Great Cities,
Don’t You Forget About Me,
Alive and Kicking
Andrew Trail