Review: Mark Lanegan Band, Trinity

Mark Lanegan and band (Frederic Lyenn Jacques, bass; Jeff Fielder, guitar; Aldo Struyf, keys & guitar and J P de Gheest drums) were joined on several numbers by Shelley Brien on vocals and Duke Garwood on guitar and saxophone for a couple of tunes. They played selections from the latest LP Gargoyle along with tunes from the back catalogue. They played one cover – The Deepest Shade by the Twilight Singers. They played with passion, skill and commitment; they played twenty one tunes and they played for over one and a half hours. They played the kind of show that had you checking the interwebs on the way home: looking for another show within (sort of) sensible driving distance and wondering if you’ve got the holiday or will need to pull a sickie to make it happen. To be frank, they played a fucking blinder.

Lanegan was on fine form, his dark baritone effortlessly dancing around the music, hanging off the mic stand with foot incessantly tapping out the beat. There was no superfluous chit chat, no banter really bar a “Thank you very much” every so often and band introductions after Sister (and a crowd pleasing kiss for Brien). He was both confident on stage and at ease with himself, the material and the band; enjoying the set and clearly appreciating the ecstatic responses from the crowd. The partisan throng were with him all the way, singing along and dancing (yep, dancing: the up-tempo numbers shared a krautrock electro groove aimed squarely at the hips and feet).

The band played a non-demonstrative set for the most part, no foot on the monitor whilst gurning; no skipping around the stage or flamboyant shape throwing, in short, no rawk star shenanigans. Jacques solid throughout, locked on the spot and locked in the groove, funky at times and shadowing the riffs when needed. The up-tempo tunes were powered by de Gheest, but he had plenty of finesse for the slower songs too and really had the post punk tribal beat down pat, a dance groove woven in to the mix. Struyf washed the songs with keys, atmospheric and darkly melodic: seated for some tunes with guitar and keys, on his feet for others; terse rhythm guitar leaving space for Fielder. The latter was a constantly moving, a tight ball of energy throughout, persistently tip-toed ducking and weaving as he led the tunes – reverb drenched surf sci-fi guitar; nocturnal riffs, strangled solos; the epitome of restraint and less is more. Apart from a number of blinding solos that is…like the chiming victorious solo on Harbourview Hospital.

The set was well rounded and delightfully paced, the material judiciously selected to deliver a well-paced selection that flew by without feeling rushed. Set opener Death’s Head Tattoo thrilled with its mutant groove; Emperor was introduced as “An Hawaiian death ballad”, a counterintuitive description of its jaunty beat and nagging riff; Floor of the Ocean verged on prog with its psyche ambience but Come to Me contrasted with spooky cowboy guitar (Fielder’s lead alternating between crying and twanging) and fatalistic languid vocals. Riot in My House featured some hefty twin lead from Fielder & Struyf. The quality was relentless. The set closed with Death Trip to Tulsa, menacingly stately, its opening chords greeted with a feral roar from the crowd. A final “Thank you very much” and the band were gone but their return was never in doubt.

Joined by his old lady and Fielder, Lanegan returned for the encore, acknowledging his limp and the glasses he’d had on & off all night he commented “Can’t see…can’t walk…” and quick as a flash came the punter response “But you can sing!”, which had him creased up. Lanegan & Brien opened the encore with One Way Street and Bombed: low key, heartfelt, a beautiful counterpoint to the set and the usual bravado of crash, bash play the hits encores. Brien made her final exit as the rest of the band & Garwood returned for a valedictory I Am the Wolf, ebbing and flowing, building with beautifully orchestrated peaks & troughs.

Fielder remained on stage, pointing out the merch and recommending some early Christmas shopping before stating that Lanegan would be out to sign stuff and say “hello”. Cue queue forming as half the sold out crowd headed for the merch, anxious to get Christmas stuff signed. This was a masterclass in 21st century rock, totally devoid of cliché and ego; killer material delivered with passion and technique. Lanegan has arguably released his most complete work to date and he and the band are on superb form. This quality of performance deserves to be in arenas stunning the masses.

Pix by Shona Cutt

Mark Lanegan: Trinity, Monday 27th November 2017