Wednesday 13 September 2017

Margins

I went to a little festival this summer - you know the sort, it's in a village you've never heard of, with a mostly unknown line-up, and they big up their family-friendly credentials. I sound a bit cynical and jaded about it, sorry - I really shouldn't because it was terrific and I had a great time. But it did get me wondering about the fine margins that exist between bands that make it and those that just plug away forever, trawling round the local gig circuit but never making that "jump" to the next level.

The festival headliners on the Saturday night were Dodgy. And they were alright, even if it did seem at times that they were going through the motions. But even Dodgy wondered aloud how they were going to follow the preceding act, the glorious Sam and the Womp, whose combination of Ida Maria-esque vocals and trumpet-wielding sideman were perfect festival fare. But Dodgy made it, to a level that Sam and the Womp probably never will. Why, I wondered...

The festival highlight for me though was The Naked Lights, who played two sets - the main stage on Friday night and, better still, the acoustic tent on Saturday. On their website, the band describe their sound as "a ragged adventure, with songs veering from bass-driven gospel, through electronic guitar-house to fuzzy Brit indiepop, all polished with pop melody." Now the pedants amongst you might wonder how you can polish with melody, but you know what they mean, right? What I would say is that the description does come close to summing up the range of styles they deliver. Most of all though, they remind me of early 80s guitar-based New Wave - in fact, the closest comparison I can think of if The Vapors who, coincidentally, I wrote about earlier this year. But anyway, early 80s guitar-based New Wave: that's a good thing. Here's a typical example of how they sound, and why I make that comparison, from their current album, The Fear Of A Morning. It's called Here Comes The Feeling.

In fairness to the band, they're very open about their influences - there's even a song on the album called (Echoes of) The 1980s. But where was I? Yes, I really enjoyed both of the band's sets, so much so that I bought their album from the merchandise stall, and have played it quite a lot since. But... it all comes down to those slender margins, I think. The band are great musicians, are tight live, get the crowd going and look the part... so why aren't they bigger?

The answer came to me in the acoustic set, as The Naked Lights included an eclectic mix of covers including Ice Ice Baby (yes, really) and, best of all, the theme from The Fresh Prince of Bel Air, which was the absolute festival highpoint for me - the tent went mad. And that's when it struck me - there are hundreds, perhaps thousands, of very competent bands doing the rounds nationally, with a high level of musicianship, the necessary social media presence, maybe even albums to tout. But they don't make it if they don't have a song that exceeds the norm, that elevates them to a different level, that is transcendent for the listening audience. Having the right song, maybe that's what makes the difference, that's the fine margin.

Here's another Naked Lights track, this time from their eponymous debut album. It's called We'll Revolution With You.

At first, I thought this might be the song that elevates them, that provides the transcendent moment. Certainly it had ear-worm status for me for most of the week after the festival. But it's not. In the unlikely event that the band are reading this, this is the direction they need to head in, more tracks like this, album-closer These Walls.

But what do I know? With my beautiful acoustic guitar that I never play outside the house... and the electric 6-string gathering dust, that never gets plugged into my home-made amp... and the trusty old 12-string, currently gathering dust at my parents' house, and down to 11 strings... What do I know about being in any band, let alone a successful one? (Apart from margins - I'm right about those)

2 comments:

  1. Sounds like a good time at the festival. There's one that sounds pretty similar which is held just down the road (literally!) from me but I've never been - I can hear the music from my garden so I don't mind that! This year it featured acts such as Wheatus and Goldie Looking Chain and it did sound like they were having a lot of fun... but it's clear they've definitely slipped into the margins again and just doing that kind of thing above all else. Whilst I'm not so keen on Naked Lights personally I totally understand what you say about the influences. And yes, often wonder about the margin thing too (and seems to be the same thing with other creative pursuits!) I know sometimes bands just don't get the recognition they really deserve. perhaps simply for not being picked up and promoted accordingly, right time right place and all that - and it seems a great shame but sometimes I think it's for for the best, and enables them to keep true to themselves. How often have we witnessed that transformation of a relatively obscure band or artist into becoming better known and seen them lose whatever essence it was that drew us to them in the first place? A difficult one!

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    1. Ah yes, right time, right place. Interesting, isn't it - most bands would doubtless jump at the chance to "make it" but, as you say, at what cost? Selling out, not being true to themselves? Losing their essential qualities?

      The Naked Lights are interesting. They have all the qualities, I think, but the songs aren't quite there consistently enough. They had the whole major key New Wave/power-pop thing going on brilliantly, but that won't take them to higher places. I think they need some more songs in a minor key.

      I should also mention Sunday's headliners, Jeremiah Ferrari, a reggae/ska band from Manchester who, more than any other band over the course of the festival, got the main stage crowd really going. But even for them it was the songs that made the connection - the biggest reactions came to their well-chosen covers, of Bob Marley and Toots and the Maytals. Not something I'd buy, but fine festival fare nonetheless.

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