Pop & Jazz: Live: Slow death by self-satisfaction
Gay Dad/Mansun Nme Premier Shows Astoria London
Friday 29 January 1999
Expectations were running so high on Friday night that I began to feel pangs of sympathy for them in their seemingly insurmountable task. But I needn't have bothered. Gay Dad glowed as if they had just gorged themselves on special rock-star Ready Brek. Their streaky mop-tops gave them the perfect balance of glamour and grimy indie chic, and there wasn't a thread out of place in their dishevelled attire.
Gay Dad's penchant for epic glam rock mixed with belligerent punk made for an energising show. Their rallying cries of "come on" and "let's go" recall the high jinks of Supergrass - though even Supergrass might blush at the line "Aerosmith rule!" - while there were periodic nods to Bowie and Bolan. The band's first single, "To Earth With Love," had been available for only four days, but the crowd recited it as flawlessly as if it had already been canonised among the classics.
Since they prefer to look back for their inspiration instead of forwards, it would be a pity if the future of rock'n'roll were in Gay Dad's hands. But they will pass the time pleasantly until something better comes along.
If Gay Dad looked pleased with themselves, Mansun were positively smug. The singer Paul Draper paid scant attention to his fans; instead he shuffled about the stage with an affected camp that was apparently modelled on Jarvis Cocker's stage antics, but made him look severely unhinged.
Mansun's songs have a way of winding their way into your consciousness uninvited - I was able to hum along with more tracks than I would have liked - but there is an air of conceit about them that outweighs their musical credibility. Prolonged instrumental sequences failed to hold the attention, while the epic quality of recorded material was notably absent. Worst of all were Draper's drama-school vocals. They were so nasal that I was shocked to discover that he had his mouth open at all.
If Britpop was a pastiche of the Sixties and Seventies, then Mansun are a pastiche of that pastiche. As they trawled unimaginatively through the songbooks of Blur, Elastica and Shed Seven, they served as a glaring illustration of how truly dead Britpop is.
Art Piece taken off website amid 'severe security alert'
Maisie Williams single-handedly rises to the challengeTV
Academy criticised after no non-white actors nominated
tvAn expose of hooliganism masquerading as an ideological battle
artLee Hadwin can't draw when he's awake, but by night he's an artist
Arts & Ents blogs
- 1 UK weather: Snow to fall in the coming week with sub-zero temperatures to last until early February
- 2 Saudi preacher who 'raped and tortured' his five -year-old daughter to death is released after paying 'blood money'
- 3 The enemy within: People who hear voices in their heads are being encouraged to talk back
- 4 Phil Neville backtracks on Tomas Rosicky 'I'd smash him' comments from Match of the Day 2
- 5 British grandmother Lindsay Sandiford faces execution by firing squad in Indonesia
Mr Selfridge series 3: Actress Kara Tointon says 'we're starting to see his demise'
Ed Sheeran texts Noel Gallagher to offer him tickets after Wembley Stadium rant
Benedict Cumberbatch says Hollywood is better for black British actors
Sia apologises for 'Elastic Heart' music video that sees Shia LaBeouf wrestle 12-year-old Maddie Ziegler
Taylor Swift banned from Triple J Hottest 100: Fans react to epic #Tay4Hottest100 defeat
Nigel Farage: NHS might have to be replaced by private health insurance
'We would evict Queen from Buckingham Palace and allocate her council house,' say Greens
French court convicts three over homophobic tweets, in case hailed as a 'significant victory' by LGBT rights campaigners
Greece elections: Syriza and EU on collision course after election win for left-wing party
British Muslim school children suffering a backlash of abuse following Paris attacks
George Galloway condemns 'racist, Islamophobic, hypocritical rag' Charlie Hebdo at freedom of speech rally