I'm obviously a bit preoccupied at the moment - with all the stuff that's going on at the moment I'd totally forgotten to tell you about the brilliant Elbow gig on Saturday night. What a perfect (almost) evening.
I'm fast becoming a fan of the Roundhouse, generally the sound's great and it rarely feels that full, either through great capacity management or tardis-like architecture, I'm not sure. Weirdly, their normally dull beer selection was complemented by the addition of Sagres, which we'd just been drinking in Nandos down the road. Little things like this help, I find.
They were supported on the night by Jesca Hoop, who I suspect is really quite good, and judging by some of the streaming tracks on Last.FM, I think she probably is. Unfortunately her delicate voice combined with the relative lack of interest from the crowd meant she was more or less inaudible, and as she only played a handful of tracks (including a duet with Guy Garvey) I'm not sure she didn't wander off out of sheer annoyance. Poor lass, I thought she could've been great in the right circumstances.
The main event then. The Kiwi made a great point at the beginning about how good the sloping floor in Brixton Academy is, in that you're more likely to be able to see (especially for her, she's ickle), and this was one of my two criticisms of the venue. The opening track was spoilt slightly by us shuffling around trying to get somewhere we could stand next to each other and still see, which depended largely on a very specific configuration of people of certain heights going all the way forwards to the stage, so it's safe to say it didn't really happen.
The band, without exception, were tremendous. Opening with 'Starlings', complete with a trumpet wielded by each band member (whether mimed or not, I don't care), they had the audience grabbed from the word go (or in this case 'How'). By the second track, the bloke next to me singing at the top of a voice so flat it had canals was getting to be too much, so we moved to the middle back, and better sound.
On that note, what amazed me throughout was the quality of the sound, and the preciseness that they got in playing almost note-for-note versions of the tracks we were all so familiar. There's a time and a place for innovation and so on, but a band at Elbow's stage in their career and with their sort of fanbase, should know that they're not going to get away with Jazz Odyssey: we want to hear what we've got on our stereos, just louder and in real life.
And that they delivered. Unusually, one of my favourite tracks of the night was one which didn't really grab me on the record; "The Loneliness of a Tower Crane Driver", which Guy really seemed to enjoy and absolutely took it by the scruff of its neck. It's great to hear a proper Manchester accent in song - a friend of mine once mentioned how much she loves hearing regional accents on singers, and I have to agree. Not only is it so... honest, but it gives the work a sense of place, and much like terroir in wine terms, embraces its origins. One other track stood out, but you'll have to come to our wedding to hear more about that one.
On a final note, whilst writing this, my iTouch has been in an unusually capricious mood. I've had it on a Genius playlist it's built around Elliott Smith's perkily scornful 'Somebody That I Used To Know', and it thought to include Ben Folds' slightly mawkish but still touching 'Late', his posthumous tribute to Smith. It's a bit like a Spielberg film, in that it's a bit cheesy and predictable, but in such a way that you can't fail to be moved by it. The 25th and last track is Fleet Foxes' gorgeous 'Ragged Wood', which reminds me that we're going to see them in November and it promises to be an amazing night.
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