Arctic Monkeys: Live at Brixton Academy
When: 26th August 2009
Like prodigal sons, Arctic Monkeys were welcomed back from their self-exile from the British live circuit when they performed a one-off gig at Brixton Academy last Wednesday. Such is the demand for the Sheffield quartet, a ballot was needed to determine what lucky few would be able to attend the sell-out date.
Anticipation was high and excitement was at fever-pitch. Amidst talk of how the band would incorporate the newer, slower and in some cases down right filth material (does “My Propeller won’t spin, and I can’t get it started on my own” ring any bells?), heavy rumour’s that the super group by the name of Them Crooked Vultures was to support. I’m sure the names of their members may strike a chord in your mind. Nirvana’s drumming machine Dave Grohl, Led Zeppelins bassist John-Paul Jones and Queen of the Stone Age’s Josh Homme, along with fellow guitarist Alain Johannes, walked on stage to a rapturous reception as whispers of “so the rumours were true then” resounded around the academy. Mind-blowing beats supplied by Grohl were matched by the most delightful guitar solos, complete with the twisting bass rhythms laid down by Jones. Their debut album is sure to be interesting.
Now for the main event. Nearly two years had passed since Arctic Monkeys last graced the stage for a British audience; their previous date being that wonderful night at Manchester Apollo that was recorded for their first live DVD. As the lights dimmed, and the entrance music rang out, what immediately struck was that they were not walking on to Matador. Clearly it was a case of new album, new beginning; therefore begging the question of what B-side this entrance track would turn out to be. A huge roar and ovation from the Brixton faithful rang out as they casually picked up their guitars, with drummer Matt Helders opening proceedings with the swift introduction to “My Propeller”.
The song, delightful filth in every sense of the word, (it utterly deserves to be in italic font too) held the crowds gaze in total fixation. Whilst not the chaos ensuing battle-cry of View From The Afternoon, or the crazed firefight that is Brianstorm, it provided many a bounce from the punters, as the hardcore sang word to word back at Alex Turner.
The band rattled through the likes of the Nick Cave cover Red Right Hand and the well-received Crying Lightning, after which the front man joked “have we got time for one more?” An interesting addition to the Monkeys set is their ability to re-work past songs, namely in this case Still Take You Home, This House Is A Circus and Fluorescent Adolescent. The former, one of the best from the debut album, incorporated a new instrumental part featuring the drummer dictating the pace with sole beats, before being joined by Turner and Cooke with intricate guitar work. Pausing for a moment to embrace the cheers from the audience, the band then crashed back into those familiar guitar riffs, ending the track with aplomb.
Of the new tracks that impressed most live, it was namely Pretty Visitors. The sight of Turner standing there as an out-and-out front man, prowling the stage under heavy strove lighting whilst effortlessly rapping can only be described as awesome. Moshing began in the pit, as the fast pace stopped dead to the sound of the chorus. Deep breathes were taken, before the chaos ensued again as Turner continued the rapid speed of his lyrical duties.
Of what was otherwise a brilliant gig, the only gripe I had was that it ended on a fairly slow, uninspiring note. Turner had previously told the crowd that the band were going to “take things down”. Indeed they did, and it was beautiful, but by then proceeding to play the wonderful Cornerstone, mellow Only Ones Who Know and Secret Door, the crowd did not quite get back into full-flow. Granted, the band ended on the ever epic 505 that always causes a rush, but the feeling that a faster, crazier track could have been placed among those final few was clear. It had seemed that View From The Afternoon, strategically placed before Cornerstone, had been the final blow-out.
As the band finished on Fluorescent Adolescent the crowd burst into chants and applause, before the quartet returned for the encore. The disjointed yet brilliant Secret Door was played, followed by the classic 505. A Certain Romance will always hold a place in the hearts of Monkeys fans as the ultimate set closer, but it seems 505 is set to rival it.
Indeed, as well as the new sound of Humbug, Arctic Monkeys are looking to revamp their live performance. Maybe the gigs won’t be so “mental” anymore, but they will certainly still be ones to remember.
Words: Alex Read
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