Turin Brakes - The Concrete Kid
Formed back in 1999 when childhood friends Olly Knights and Gale Parijanian reunited after Parajanian's return from Toronto, the band Turin Brakes released their Mercury Music Prize nominated 'The Optimist LP' in 2001. Twenty one years later, they are touring album number nine, 'Wide-Eyed Nowhere', recorded during lockdown in Knights' back garden studio in South London. The duo, together with long-term collaborators Rob Allum (drums) and Eddie Myer (bass), were at Epic Studios on Thursday, and seemed excited to be in the same building that had been home to both 'Sale of the Century' and 'Trisha'.
Originally compared to bands like Elbow, Starsailor and Kings of Convenience, Turin Brakes became a part of what the press at the time called the 'new acoustic movement'. Even though successive albums would feature electric guitar, explore a darker side, and even add a keyboard player to the line-up for a while, many music fans (myself included) still think of Turin Brakes in terms of 'The Optimist LP' and its follow up, 'Ether Song'. However, their generous twenty-one song set on Friday certainly opened my eyes to the varied back catalogue that they carry, and to a well-lush brand new album.
After the shenanigans at Epic earlier in the week it came as an utter joy to watch a band who clearly love what they do, and wanted to be here. Leading the attack was the dynamic partnership of Knights and Parijanian, their voices blending so perfectly to create those delicious harmonies. And Knights is still given the space and opportunity to open up and extend his vocals into exciting and emotive territories. His range must rank alongside some of the great pop singers - Gene Pitney, perhaps, or even Neil Sedaka, managing to be both gentle and powerfully ascendent within one single line of a song.
Rob Allum's drumming is on-point throughout, even though he has lost his voice completely and is unable to step forward for his own vocal spot tonight. Bearded bass player Eddie Mayer is the real extrovert of the band, always ready with a quick response to the audience shout-outs, and always ready to chase around the stage and strike all the classic rock-star poses. He also delivers a rousing speech imploring us to help re-grow the entire live music industry by continuing to support venues and artists, and thereby help protect everyone working within the industry.
The set kicks off with a couple of tracks from the new album. Opener 'Isolation' is obviously part-inspired by the months of lockdown, but is still another potential classic. Hits like 'Emergency 72' and 'Pain Killer (Summer Rain)' are held back for later, but new songs like 'Up For Grabs' and 'Into The Sun' all sound brilliant when performed live, and get a great reception from tonight's audience.
The call for an encore is a no-brainer, especially as we still have to hear possibly the band's biggest song 'Underdog (Save Me)', and Turin Brakes are a band that just keeps on giving. After delivering on 'Underdog' and another two songs, they return for a second encore, and a final three songs from 'The Optimist LP', including the crowd-pleasing favourite 'Feeling Oblivion'. That, according to my notes, made 21 songs in just over 105 minutes. And all performed with a genuine and unapologetic sense of giving, and an appreciation of the loyal fanbase here tonight. Put that one in your pipe, Mr Dando.
Support came from The Concrete Kid, alter-ego of Glasgow singer-songwriter Joe Gallagher. Looking and sounding a bit like a hybrid of Badly Drawn Boy and Billy Connelly, and wearing a weird headphones/radio aeriel contraption on his head, The Kid entertained us with songs from his EP, available (if I heard him correctly) 'tonight, and tonight only from the merch desk'. And, it was produced by none other than Turin Brakes' Olly Knights.
