Music / post punk
Review: Wire, The Fleece
Having an intro tape ask the audience whether you’re a “multicultural zelig” or a “total cunt” is a bold statement of intent – especially in front of a sold out crowd, and even more so when all you have is a copy of your book Foreground Music. But Graham Duff just about carried it off.
After several jokes, that induced equal amounts of groans and laughs, Duff read a few extracts from his tome, improvising responses to incoming comments and winding up the crowd, albeit with good natured banter. It was an odd session, neither stand-up nor a conventional book reading, but it worked just fine.
is needed now More than ever
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Given the demographic, there were lots of knowing chuckles at the reminiscences and a few barbs directed at Crispy Ambulance. Suitably enlivened, the crowd gave him a hearty round of applause and but two minutes later a squall of noise and tuning up noises heralded the low-key arrival of the main band. But let’s jump to the end of the main set.
By way of introduction to the encore Colin Newman reminisced about touring in the 70s, and how the band always started out in Plymouth. After a few such inaugural gigs the promoter stopped asking them back but why? “Because you’re always rubbish”. Bristol was the first date of this current tour, in support of new waxing Mind Hive. Are Wire’s first nights still rubbish?
No.
They are tremendous.
The band had a massive powerful sound built from the foundation of aggressive (frighteningly aggressive) bass and thunderous motorik drums. The guitars were eclectic in extremis: riffs, loads of riffs, big jagged riffs, splintered riffs and riffs to crush planets. Never ponderous though. But you mustn’t think it was some bludgeoning riff fest: the guitars also jangled; the guitars swooped and soared. The guitars were never clichéd but equally never pretentious – headbangers and beard stroking students of six string extrapolation alike would have found much to enjoy. Meanwhile, Matthew Simms conjured white noise, squalls and all manner of weirdness that immeasurably enhanced the tunes.
What about the setlist? It’s worth quoting Graham Lewis himself, who divided the band’s live audience thusly in a Grauniad podcast: “The ones who are, ‘Oh, only play your new things,’ who are shouted down by those who are, ‘Why don’t you play any of the old things?’, followed by the young ones who are going, ‘Why don’t you old fuckers shut up so they’ll just get on with it?’”. What did they play then and who did they satisfy?
Well, Young ‘uns and old ‘uns alike must have been delighted with the set – old and new things, unexpected things and a tune that has (apparently) only been played twice: “Once when we recorded it and once when <muffled comment>”. Surely Outdoor Miner has had more airings? Nevertheless, it sounded fantastic opening the encore.
This was a great night: band on form (super tight, super powerful and whilst grimly determined in the tunes, looking relaxed and happy in between) and crowd on form too (united in delight, sporadically moving & grooving, singing along to all). This was an uplifting night too – a band in their fourth decade yet still exploring what can be delivered by two guitars, a bass and a drum kit, and succeeding in doing so whilst delivering something as entertaining as any traditional rock band.
Wire really are a band to cherish, they’ve been ploughing their own furrow for such a long time, and it’s arguably one of the most consistent & challenging furrows in popular music, yet it’s an accessible furrow. Ahem. Gnomic lyrics and art-noise scrunge notwithstanding, and despite the obstinate refusal to make things easy for themselves (along with their refusal to pander to the obvious) they’re rather accessible. The tunes are often earworms disguised as sonic explorations (a catchy chorus here, a cheeky verse there, or featuring delightfully contagious licks & riffs) and live they soar.
They really come in to their own on stage – rapt audience, knowing banter, unexpected song choices and consummate performances – a sense of give and take from stage to dance floor – making them a crucial choice when they’re next in town.
Wire: Fleece: Monday, 27 January 2020
All pix by Phil Riley
Read more: Metal & Prog picks: February 2020
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