måndag 8 Mar 2010, 21:15
There's a certain temptation to dismiss Gomez out of hand, especially if you're a music biz nerd weaned on sale figures and buzz. The Brit quintet seemingly reached their apex in both categories with their 1998 debut Bring It On. Since then, countless musical trends streaked across the NME and MTV while Gomez went about their own business, becoming music festival staples in between amassing a respectable catalogue. Now, in 2010, the band are tallying a string of sold-out shows around the world including a stop in Wisconsin's capital city.
Longevity is an admirable trait in itself, but Gomez have other intangibles behind their long-term success. Firstly, the band have managed to attain a signature sound siphoned from several sources including classic rock, delta blues, experimental and British folk. Add in having three different singers and voices in their disposal and Gomez have a familiar yet unique sound that cuts across scenes and radio formats. (Indeed, although their concert here was sponsored by the local Adult Alternative radio station, a scan of the crowd revealed college-age kids in Adidas gear side-by-side with older, bearded gentlemen who looked as though they had seen a The Grateful Dead show or two in their past.) With 7 plus albums and over 100 songs at their disposal, the band could easily do a The Beach Boys-style run through of their singles to fill their set-time quota. But Gomez instead try to pick democratically through their 12 year career, mixing obvious entries with more obscure relics. Although the Madison show leaned heavily towards their last two LPs, at least one track from every album was included. (In fact, their 2000 odds-and-sods collection Abandoned Shopping Trolley Hotline notched three, including Machismo , which the band claimed they had not played in years.)
Watching a Gomez show is much like a circus, in that the main focus changes often. Ben Ottewell, he of the smoking lead guitar and raspy croon, took center stage, while Ian Bell (guitar, vocals and sample-triggering laptop) occupied the left side. Meanwhile, stage right belonged to Tom Gray, who served as instrumental wunderkind, occasional vocalist narrator and cheerleader. The rhythm section of drummer Olly Peacock and bassist Paul Blackburn mostly kept to the background presence-wise, although their impeccible steadiness buoyed the trio musically. There's no doubt all five have chops coming out of their ears, but there's an undeniable communality to the presentation: although the band are jam-friendly, there's precious little ego-stroking instrumental interludes. The songs from 2009's A New Tide in particular seemed to gain swagger and muscle onstage.
Openers one eskimO did well for themselves; judging from the crowd reaction, they may not be far away from going on tour as headliners themselves. Like Gomez, their combine their instrumental mojo for maximum effect, but in a more wistful and chipper way. The understated percussion brought Guster to mind; the folk-fueled guitar work could be placed firmly at the intersection of Carbon Leaf and Coldplay. The frontman's angelic vocals and stage presence suggested a mix of Michael Stipe and Jeff Buckley (although the fashion statement of wrapping his palms in scarves is one I don't recall seeing previously .) Although all their 40 minute set was well-received, Kandi seemed to elicit the biggest cheers (although it sounded far different than the radio version which suggests John Mayer covering that Standing Outside a Broken Phone Booth With Money in My Hand song.)