Live Review

The Brian Jonestown Massacre – The Forum, Kentish Town, London

• 18th Jul 2008

Anton Newcome’s ensemble takes to the stage rather speedily taking the crowd by surprise. Usually you get some that hushed quiet before the cheer, or an alteration in the sound or lighting on stage to indicate the band’s arrival. But nope. They dash on in the darkness and grab their equipment and then spend a few minutes doing some last minute tinkering before opening with BJM crowd pleaser ‘Whoever You Are.’ The crowd are indeed pleased, and the band effortlessly gets on with it. Joel Gion is centre stage with a full on truck drivers beard, hat and glasses. The rest of the band are spread out across the stage leaving Anton Newcombe away to the far left bouncing on his heels in his denim outfit. It is almost surprising that the owner, founder, caretaker and main composer of the BJM would be so relegated to the edge of the stage. But then Anton Newcombe was never really about making himself the centre of attention. That may seem like a sentence that couldn’t be any more wrong, but then looking a second time it couldn’t be more accurate. Newcombe’s style has always been about the music and to have it to perfection and made available to the public. It just so happens that his methods of doing so have ultimately given him some spotlight attention over the years. So keeping in mind the music, where he stands tonight seems right as it is where he can keep an eye on everyone (also renowned for correcting band members when mistakes happen).

There is however very little in the way of mistakes. The Forum with its high ceiling makes the sound rather booming, but overall the band makes it worth while. You soon find that they usually take a few minutes between each song to tinker with instruments. Face value suggests that they aren’t the most professional band in the world – but when they then start to play again you fully realise what all the fine tuning was about. It’s not just playing a song well; it’s making it sound like something euphoric. Their music swells and is played out to length. What first popped to mind was how good a band like The Cure were in the mid to late 80s creating these long songs on their albums that just seemed epic in comparison to the more commercial takes; and the remaining few minutes are grinded out and milked for every note they were worth. The BJM have a lot of this and with Newcome’s strict attention to detail being employed it works masterfully. His devotion to creating something for a listener is ultimately very unselfish and highly rewarding for all involved.

But being the BJM, and the venue full of fans of the documentary DIG! – There are a lot of chants out there that are hoping for some onstage drama. Newcombe largely ignores this as he isn’t out to start fights. But he does point to the odd member of the crowd who is misbehaving and chastises them for bugging the staff at the venue. It is ultimately towards the end of the night when one of the members in an intoxicated stupor decides to have a childish fit. Newcome straight away has his mic shut down which promptly shuts him up. All the while Joel Gion who has been here many times before calmly waits it out until they band kick off again into the next song which proves just as majestic as what has come previously.

Watching the Brian Jonestown Massacre is a strong reminder to fans of live venues of just how good a feeling live music can be. They come on, they do their own thing the way they want to do it and they leave you relishing your next venture to a live act; and wishing that they could keep up such a standard of showmanship.