Fresh Air Live Presents: Come On Gang! at Cabaret Voltaire

Full of infectious energy, the Edinburgh trio shone in their home town at Cabaret Voltaire. Set to play at SXSW this year, Come On Gang! have emerged from the Edinburgh music scene to claim due attention.
The material is guaranteed to get your head bopping and toes tapping. The delightful riffs over-laid with Sarah Banat Jones’ keening, lyrical voice became an instant hit with the audience, pulling them away from the bar and onto the floor.
The highlights of the set were ‘Out of Control’, and ‘Wheels’. ‘Out of Control’ had a harsher and rawer edge than the other material, giving a punk attitude to the sound that was otherwise quite commercial and accessible. ‘Wheels’ is a rollicking tune with a pervasive beat, the sheer enthusiasm of the players earning a few whoops from the crowd.
Come On Gang! obviously have the ability and the edge to hold your attention, but their lack of more diverse material could leave many unsatisfied. Their energy makes them enjoyable to watch, but outside of the concert venue it is somewhat lacking. The band has found a formula that works, but they need to step out of their comfort zone occasionally. As ‘Out of Control’ proved, they are capable of something more challenging than the breezy pop that dominates their sound.

The Touch of Frost

FROST/NIXON dramatises the legendary encounter between the disgraced ex-President Richard Nixon, and the failing British talk-show host, David Frost. For three years Nixon had been silent about his time as the President, earning a pardon from President Ford and causing many Americans to wonder whether his crimes against democracy and the American people would ever be brought to account. Driven by greed and a renewed search for power, Nixon surprises everybody by allowing an all-inclusive interview with the breezy Frost. Nixon believes he can easily subdue any difficult questions, as Frost appears as nothing more than a performer and a showman.

All believe Frost will fail to deliver anything of substance from the interview. Even his own investigators and producer cannot fully believe that he can hope to master the great politician. However, a drunken telephone call from Nixon to Frost turns the tide of the interviews, and as cameras roll on the last subject, Watergate, a battle of wits ensues.

Writer Peter Morgan’s dramatisation highlights the pressure on both men to succeed on a highly personal level. The greater part of the film is the interview itself and the days surrounding its conception and execution. The heavy focus upon the interviews forces the audience to feel much of Frost’s frustration and desperate hope for success.

We also begin to feel a surprising sympathy towards the cunning Nixon, now trapped and aging, an exile to the people and yet still adored by those around him. Kevin Bacon plays Jack Brennan, Nixon’s Chief of Staff who has followed him into exile. The great respect and love that he holds for his President is truly touching, and we feel his pain and exhaustion when Nixon finally gives in to Frost and condemns himself to retirement and a hidden existence.

The casting of the film follows that of the stage show it is based upon, with Michael Sheen playing David Frost and Frank Langella as the terrible politician. Langella has earned himself an Oscar nomination for his emotional portrayal of Nixon, pitching him against the Hollywood heavyweights such as Brad Pitt and Sean Penn.

The story has managed the transfer from stage to screen beautifully, creating names for the two main actors and earning them the recognition they deserve. Their chemistry and interaction brought from the intimacy of the stage is intriguing and involving, giving the film a sense of thrill in that drive for the winner’s glory.

Well acted and ably directed by Ron Howard, Frost/Nixon is a hugely enjoyable and engaging battle of wits. This is not a history lesson, it is two failing men, trying to throw the last punch and win once more. Only one can emerge victorious, the other must be condemned forever.

No Egg On Ma Face!

THE SPIRIT is the latest comic book adaptation to hit the big screen. Directed by Frank Miller, the film follows the same artistic direction as Sin City, using bold graphics and colour blocks causing it to appear as an animated comic strip.

The success of this film lies in its looks. It is stylish, bringing the genre to a new level of sophistication. Not only this, but the quota of beautiful women falling for the Spirit is quite high. Eva Mendes smoulders as the fatal Sand Saref, Sarah Paulson is the pretty blonde Dr Ellen Dolan, Stana Katic is the eager police rookie, and Scarlett Johansson plays the ultimate sarcastic side-kick, all with some interesting costumes to boot. There can be no denying that this film is visually spectacular.

Once you get your head round the visuals, however, the film is somewhat lacking. Lacking sensible dialogue, any character development, a feasible plot…One minute we have the Spirit battling his nemesis on a mud flat, the next we are trying to follow the half-baked attempt at a plot that is the finding of the blood of Heracles. All for little, or no, purpose it would seem.

On the other hand, this film does have everything a comic book geek could ever want. There is a Samurai scene, there are Nazi dentists, there are the clones, there is gratuitous and, often hilarious, violence, there are the gorgeous babes. Heck, there is even Samuel L. Jackson thrown into the mix. Will Eisner and Frank Miller knew their demographic well when they came up with this heady cocktail of a film.

Samuel L. Jackson plays the Octopus, the evil nemesis of the Spirit. His character is, by some way, the best thing about this film. He is everything a comic book enemy should be: insane, evil, and out for world domination using the most difficult methods possible. The Octopus and his assistant, Silken Floss (Scarlett Johansson), tease and tempt the Spirit into their lair where, dressed as Nazis and under a giant Swastika, they subject him to ridiculous monologues about free-range eggs, genetics and dissolving kittens. All the issues with plot and dialogue become unimportant once Samuel L. is on the screen.

And that is how this film must be viewed. If you want to enjoy this, you cannot concern yourself with anything important. Even the cast seem to be having a ball, as they deliver their lines in sarcastic tones and run around in ludicrous costumes fighting, or seducing, one another. The only aspect of this film that is worth any critical acclaim is the artistic direction. But please, don’t let that worry you. Enjoy the ride, and you will not be disappointed. 

Come On Home

 

FRANZ FERDINAND returned triumphant at the Picture House, debuting material from their latest album, Tonight.

The anticipation was palpable. This is the first time the Glaswegian band has played in Edinburgh for over three years. Not only that, but this was the first official concert to promote the new material; in advance, even, of the album tour that kicks off in the early spring.

Anyone who has seen this band can tell you that the on-stage performance is never lacking. In comparison to the studio versions, the songs take on a harsher, faster, tone, giving the performance an element of punk that is less pronounced on the albums. And this was no exception; Franz lived up to their reputation as a brilliant act.

They opened with ‘Lucid Dreams, from the forthcoming album. All of the new material demonstrates a far more electronic sound, apparently evident throughout Tonight. This quickly segued into the arrogant and rollicking ‘Do You Want To’, causing the crowd to begin bopping with the enthusiasm that is reserved for bringing home an old, long-absent friend.

The high points of the concert were reserved for tracks from the band’s debut album, demonstrating their enduring quality. The band only played 55 minutes for their main set, before returning to stage for the brilliantly energetic ‘Michael’, and then ending with ‘This Fire’, sending the crowd into a frenzied mosh-pit.

Their new material does seem to lacking the edge that their previous albums held over all the other ‘4 men in suits playing fast guitar’ groups. But do not let that put you off: when it comes to Franz Ferdinand, seeing is believing. And, on the back of this performance, they will have a wonderful reunion with the old fans, but they may not claim any more to the cause.