Not a chance!
Tonight's support - Sweethead crafted a perfect sound to get an already sweltering audience even hotter. Lead singer Serrina Sims simply graced the stage demanding the attention of punters with the way she looked, and then retaining said audience with her brilliantly dreamy and energetic vocals. Flanked by QOTSA's Troy Van Leeuwen on Guitar, and Mark Lanegan's Band's Norm Block and Eddie Nappi on drums and bass respectively; Sweethead felt compulsively warming. The influences from their respective backgrounds seep into the roots of this band, which was then topped off with some refreshingly lively and well constructed vocals. Stand out tracks 'Life In Laralay' along with 'We Turned Our Backs' which saw the band animated and enthused, clearly making them well received by tonight's crowd.
Then the headliners emerged. And as each member of this powerhouse walked on, they were met with a roar of cheers.
They didn't hang about. Straight into opening album track 'Nobody Loves Me, And Neither Do I' it was clear that just being in the presence of such icons isn't the only magic here tonight. It was the sound that shook you to the very core of your existence, like nothing you've ever heard before. Not only Grohl's destructively powerful and precise drumming, but just the sound of each instrument snuggled up next to one another; then thrown powerfully through the speakers. Their sound was a definition of perfect. A slightly slower version than the album's, this title track had the audience captivated and enthused by the sheer force in front of them. Half way through, the track erupted into its alter ego second half. Apocalyptic drums and gargantuan fret ripping duo basses brought everything and everyone in the building into a unified nirvana. The entire sea of body's shook back and forth simultaneously to the command of the music before it.
The next two tracks 'Dead End Friends' and 'Scumbag Blues' continued momentum. The latter playing host to a stirringly funky bass solo from Jones. The epically guitar heavy 'Elephants' rang pitch perfect throughout. Extra drum fills and extended guitar off beats reinforcing the pedigree of performance on-stage tonight. Those extra little hooks which colour tracks even more, whilst maintaining its source material. Homme towered over the stage, employing his trademark swagger and 'ginger Elvis' demeanor to retain the audience. It's not hard to identify his stoner rock history, but that's not a bad thing. With a fresh line-up behind him, the music really does feel it's paving new slabs which haven't been laid previously.
Another album favourite 'Gunman' continued to prove that, along with the title track and 'Elephants', the album's strongest points maintain their dominance in the live show. Alain Johannes was given his time to shine during 'Gunman' with some soothingly melodic solo work. He may be the lesser known of the band, but performances like his just make you realise why he's in such a fortunate position.
The album has been known to suffer to a slower lull towards the end, but the live performance allows you to understand the message that's trying to be conveyed. 'Bandoliers' began with Homme echoing his eerie vocal range around the four walls. The noise of his voice, then a microphone being dragged over strings became both hypnotising and magical, giving a small respite to the exhausted bodies before him.
Watching the Vultures perform in a venue like this also makes you realise what this means to each of them. Larger stages would have the tightly woven sound lost, and intimacy created with the fans too diluted to be memorable. All throughout the evening, each member could be seen to be having a clearly good time. Grohl would frequently peer over his drum kit at his peers with his trademark grin. Homme and Jones constantly exchanging smiles and laughter make you realise these guys are having fun. This culminated in a piano solo from Jones during 'Spinning In Daffodils'. With Grohl perched over his kit, he joined Homme and Johannes stationary to watch Jones' solo. It felt real. You could feel the admiration towards one another. It was this genuine respect and admiration which, once witnessed by the audience, allows us to feel even more so a part of the experience.
Homme is met with boo's as he declared their last song. "No, No, don't be like that, we can make out in the parking lot after" was his retort. A truly huge performance of final song 'Warsaw' brings the evening to a close. Even though not wanting a conclusion, it was refreshing to have no encore. A bow from the four men in front of us, soon followed by house lights up, and Roy Orbison blurting through the PA.
It's when you see a band of this calibre; you truly feel part of something special. Love or hate their album, there is no question that each live version will blow every song out of the water. 'Super groups' have an all too a common tendency to break apart after an initial tour, and fall back into the acts that got them this far. Not that any of their other bands are at all a disappointment. But the Vultures just have the best of both worlds. It feels like three legends that are so excited to be working together, have been packed into these small and intimate venues; and are having as much fun they've ever had. The best part - they've brought this revolution onto the road for the rest of us to enjoy.
If you're lucky enough to have a ticket for one of the remaining London dates over the next couple of days, well then congratulations; you've just got yourself the best Christmas present of the year, possibly of your life.
article by: Phil Davies
published: 16/12/2009 14:12
FUTURE GIGS
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