The Black Keys | Spoon | Shannon and The Clams
OVO Enviornment, Glasgow
twenty fourth June 2023

A triumphant return on The Black Keys’ first gig in Scotland in 8 years? Within the circumstances it’s arduous to make a name. That is extra a story of how a drunk can wreck a live performance expertise for all these round him.

First act tonight are Shannon And The Clams. They’re clearly American with the sound of mid 1960’s California earlier than music on the West Coast turned attention-grabbing. There are similarities to The Seaside Boys which doesn’t enchantment to those ears. Musically they appear an odd alternative for help contemplating what’s to return. Music apart, their drummer may undoubtedly safe a job as an additional in a Western film if occasions get powerful.

Spoon are up subsequent and so they don’t take lengthy to impress. They’re a band I’ve heard of however haven’t actually heard. The way to describe them? I hear snatches of Pavement, Pixies on more durable edged tracks, touches of funk in locations, and softer extra melodic fare, however they don’t really sound like anybody specifically. It’s American various rock rooted between the late 1980’s and early 2000’s, and with every monitor they sound somewhat completely different. I’m each intrigued and impressed.

And so to my in poor health fated try to observe The Black Keys . . .

Issues start effectively, I’m within the pit taking images for the primary three songs. The band take us again to their early days for the easy blues groove of I’ve Acquired Mine. Fever comes subsequent, way more refined with a nagging keyboard based mostly hook. The 4 backing musicians come into their very own. They’re additionally a lot in proof for brand new monitor, It Ain’t Over. With its laid again insistent groove, it’s one you may’t assist shifting to.

I head for my seat excessive on the second tier of the sector. Rising from a stairwell I discover it, instantly behind a walkway. On the walkway there’s a man stood along with his again to the stage waving pints of beer in every hand. Easing my well beyond (he’s a giant man) I take my seat however he’s obscuring my view. Over the following quarter-hour an disagreeable pantomime unfolds. Our drunk has no real interest in the music. Along with his again to the stage he’s attempting to speak with, and irritate, anybody inside earshot. A succession of safety workers come to have interaction with him and ultimately he’s parted from his beer. Persuaded to take a seat down, he takes the seat subsequent to me. It’s the one one accessible and presumably his.

Instantly, he’s attempting to converse, however getting no response he’s shortly on his ft, lurching into me as he tries to speak to these within the row behind. He’s having nice success in blocking their view and inflicting irritation however little else. Quickly, he’s on the transfer once more. Wandering the walkway in entrance, attempting to shake everybody’s hand. It takes a couple of extra minutes however he’s ultimately led away by safety. The sense of aid is palpable. As soon as he’s gone a member of safety involves ask if we need to make a proper criticism. We decline, we’re simply relieved he’s gone and need to benefit from the gig. It’s solely later I realise what a giant mistake we’ve made.

By all this I’ve been vaguely conscious of the music past the more and more disagreeable melodrama unfolding round me. The Black Keys are clearly into their groove. Lo Hello has a particular rock really feel and I’m acutely aware of hundreds of arms clapping in unison far under. The beat for Howlin’ For You someway at all times jogs my memory of Gary Glitter and the track’s easy refrain proves a catalyst for mass singing. It’s a unique world down there and persons are actually having fun with themselves.

Coinciding with the drunk’s departure, Weight Of Love’s mellow psychedelic really feel appears to chime with these round me; a time to sit back after what’s gone on. Because the track builds to a climax I’m tempted to go for a beer. Returning only a few minutes later I’m astonished to search out the drunk’s again on the walkway instantly in entrance of my seat. Safety arrive as soon as extra and he’s persuaded to take a seat down subsequent to me. Nearly instantly he’s placing his arms round me and slurring incomprehensible Glaswegian into my face. Now he insists on shaking my hand however gained’t let go. Wrenching myself free I do know I’m about to snap. This gained’t finish effectively for me or anyone else. It’s time to go away. There’s nowhere else to take a seat, I can’t see every other possibility.

Setting off down the stairwell I’m pursued by safety. The man’s pleading with me to make a proper criticism to his supervisor. It solely now turns into obvious that safety appear to want a proper criticism earlier than taking decisive motion. I’m duly escorted to his boss, make my criticism and the supervisor appears genuinely happy. I’m taken to a unique space within the area, given a fold out seat on a balcony and informed that the safety crew will now take care of the drunk.

Lastly, I’m in a position to watch the final 20 minutes of The Black Key’s set.

By area requirements, manufacturing values for the band are fairly fundamental. Lighting is pretty simple and there’s a again projection that compliments the music with various levels of success. The swirling psychedelic photographs that accompany Ten Cent Pistol are notably efficient and work rather well within the context of the sound.

Gold On The Ceiling is quicker and wishes no embellishment. Most of these under me are quickly out of their seats and up dancing. Wild Baby from the brand new album Dropout Boogie seems like a basic within the making. With a riff firmly within the early 1970’s blues rock custom, Dan Auerbach’s vocals have greater than a touch of Paul Rodgers in his Free days.

Closing quantity, She’s Lengthy Gone, appears somewhat flat and characterless to me after the highs of the earlier two tracks, however after all they’re quickly again for an encore. Beginning slowly, Little Black Submarines erupts as at all times. It feels as if everybody’s been ready for this second and mayhem ensues. Simply as inevitable, and sustaining the euphoria, Lonely Boy brings issues to a tumultuous shut.

Has it been an ideal gig, a triumphant lengthy awaited return? These round me definitely assume so. As for me, my expertise this night makes it unattainable to name.

At standing gigs we’ve all had drinks spilt by exuberant followers or sat amongst those that need to stand to clap or dance however tonight was very completely different. This man had no real interest in the music, I’m undecided why he was even there. These impacted all paid no less than £45 for the privilege of getting their night ruined and I’ve no thought what disruption ensued when the safety crew went to take away him. So, not the very best expertise tonight nevertheless it’s one thing that might occur at any gig and 12,000 different folks appear to have been actually up for the music. It’s a disgrace as I look at all times look ahead to Scottish gigs, particularly Glasgow the place there’s at all times an ideal environment.

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Phrases and images by Trev Eales. Extra work by Trev on Louder Than Conflict could be discovered at his creator’s profile.