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. 

Just Like Honey

BASED UPON the critically acclaimed novel by Sue Monk Kidd, The Secret Life of Bees, directed by Gina Price-Bythewood, follows a young girl’s search for freedom against a harsh and unforgiving South Carolina. Wracked by guilt for accidentally causing the death of the mother she never knew, Lily Owens, (Dakota Fanning), escapes her abusive father and runs to Tiburon with her black house keeper Rosaleen, seeking shelter with the Boatwright sisters at their honey farm.

The film is told from the perspective of Lily Owens, lending the narration a great immediacy. This is the voice of an abused and lonely adolescent, lacking any sense of love and company in her life. This is a film for and about women, and Lily’s mother’s abandonment and then death at the hands of her child, is heart-rending and appealing to a ‘maternal instinct’.

The main narrative overplays the greater issues of the day; namely, the black Civil Rights movement. The Civil Rights Act has just been signed and black Americans have been granted the freedoms that they had fought for. However, in the Southern and conservative society of South Carolina, the hate and prejudice towards black Americans is palpable. The three Boatwright sisters are held up as a shining example of black prosperity, and yet at the same time the film demonstrates that their isolation from society is what keeps them safe and gives them prosperity. In their contact with Lily and Rosaleen, their isolation ends and calamity follows, allowing the wider world and its cares to destroy their peace. The final victory of August and June Boatwright over T. Ray, Lily’s father and a symbol of white Southern prejudice, can be seen to parallel the final acceptance of Southern society of black rights and freedoms.

The real triumph of this film lies in its casting. Paul Bettany makes a truly horrifying and pitiable T. Ray; far from his usual quaint, English manner, to the point that he was near unrecognisable. Sophie Okonedo was touching and beautifully mournful as the depressed Miss May Boatwright, out-shining the larger and forthright performances of Queen Latifah as Miss August and Alicia Keys as Miss June. It is Dakota Fanning, however, who is the real surprise and glory of this film. Her portrayal is not only sympathetic, but also mature, reflecting the weariness of her character. It seems strange to see Fanning in the role of a young woman, and yet her transformation appears to set her as a member of a new generation of great actors coming into their maturity.

This beautifully directed piece would bring tears to your eyes and make you weep with compassion and sympathy for the wronged Lily and her eventual comfort and safety in the hands of the women she so dearly missed in her childhood. However, this may be a tale that only a female audience could find truly moving, as it is that idea of feminine maternity that is appealed to throughout.

 

Terribly Good Terrorism

BAADER MEINHOF Complex, directed by Uli Edel, follows the story of radical left-wing terrorist group the RAF. Built on a tumultuous backdrop of newsreel footage from the Vietnam war and world-wide conflicts, the RAF were determined to end American participation in German politics, and to rid the government of corruption.

Ulrike Meinhof, aptly portrayed by Martina Gedeck, is a disillusioned journalist. Her husband is the editor of an establishment newspaper, and, is unfaithful in their marriage. She deserts him with their children, setting in motion her drift towards leftist politics and activism. The other key members of the RAF, Andreas Baader, (Moritz Bleibtreu), and his merciless girlfriend, Gudrun Ensslin, (Joanna Wokalek), recruit Meinhof as their press secretary. Soon she becomes completely embroiled in their activism. As they are frustrated in their attempts to call attention to the atrocities perpetrated by the Americans, the RAF turn to more extreme measures, finally blowing up the offices of Meinhof’s estranged husband. The original members are jailed, suffering years in solitary confinement and left to slowly go insane as they await trial.

Radicalism begets radicalism, and the violence of the attacks continues to grow despite the incarceration of the original members. The original cause of the group is horribly mutated as they try to give retribution for government action against their activities. They began by trying to show the inhumanity of America’s policies, and in their turn become inhuman themselves, as they turn to terrorism.

Despite being slightly over-long, the film manages to document a large period of time effectively. The use of many different locations emphasises the wider dissent and spread of radicalism, though the audience are left feeling confused on occasion as to where they are and why they are there. This is in itself quite effective, as it sweeps the audience along with that zeal the characters feel. There is no need of explanation for these radicalised students, and so the audience are not gratified with one.

The film is knitted together like a news story, using radio broadcasting and printed articles to introduce new episodes of the history of the RAF. This is particularly effective in keeping the audience on track within the vast time period the film covers. It also highlights Meinhof’s role as the journalist, and brings a constant reminder of what once was, and, now that it is documented in reality, the fact that she can never escape.

The film ends abruptly, reaching no noticeable climax. There is a sense of futility that pervades, and the audience is left feeling unfulfilled. We begin to feel sympathy with these people as we realise how pointless their actions have become in a world characterised by extremism.

The film has caused some controversy with its sympathetic portrayal of the original members. These are not militant terrorists, the audience are made to understand and appreciate their motives, and once these motives are engulfed by militancy and inhumanity, we too feel their sense of loss and regret.

 

Get Ready For Love

Nick Cave and the Bad Seeds

26^th November 2008 at the Edinburgh Corn Exchange

 

Going to see Nick Cave is a kind of religious experience. There are the faithful and the zealous fans, people who have followed the band through sickness and in health. Then there are the people who have been dragged along, having never heard anything other than ‘Dig Lazarus Dig’. This group are the soon-to-be-converted.

The band sweep on stage. There are few artists that have the stage presence of Cave. These may be balding, forty-somethings, but they are the most captivating band I have ever witnessed. Their set opens with a slow bluesy number that segues into the rollicking ‘Dig, Lazarus, Dig!!!’, before climaxing with the disturbing, Revelations-inspired ‘Tupelo’.

The set was hard and fast, with the band modifying a few of their songs to suit the mood. This was, as he himself put it, “Classic Cave”, harking back to the Tender Prey and From Her to Eternity albums. Punk and energetic, Cave jerked and leapt all over the stage in his idiosyncratic dancing style, while Warren Ellis shred his violin bow to pieces with the sheer force of his playing.

Aside from the opening three, the set held many more highlights. The Bad Seeds are not afraid to delve heavily into their back catalogue. Indeed, the audience was given due attention in the choice of set, as Cave took requests. The rendition of ‘Mercy Seat’, turned harsh and loud to the point of screaming, was completely mesmerising. The thrilling ‘Red Right Hand’ and ‘Deanna’ also contributed to the over-whelming tone of hardedge rock. ‘The Weeping Song’ and ‘The Ship Song’ brought the mood down to a melancholy pace, quickly brought back up to speed with ‘We Call Upon the Author To Explain’ from latest album Dig, Lazarus, Dig!!!. By the time that ‘The Weeping Song’ was being played, my friend, who had never heard anything before Abattoir Blues/Lyre of Orpheus, was converted.

The only low point of the main set was ‘Get Ready For Love’, which had been heavily modified and Cave had missed a verse and the pre-chorus. Taken with the rest of the set however, this small omission hardly mattered.

They played for an hour and half, before coming back on for the encore to shouts of adulation and whoops of pleasure. It is tradition with Cave that he plays ‘Stagger Lee’, his dirtiest murder ballad, as the finale to the show. But first, there was some audience participation in ‘The Lyre of Orpheus’, singing the doleful “O Mama” back to Cave’s lead and realising how difficult it actually is to keep time. Then, the moment the crowd had all been waiting for: ‘Stagger Lee’. Cave’s attitude becomes harsher and more arrogant, growling the chilling lyrics before descending into a screaming, discordant frenzy.

This is a band that has survived drugs and disorder to appear triumphant. You may be amongst the youngest people there, as we were, but don’t let that fool you. Despite their respective ages, the Bad Seeds are still very much able to put on the best show you shall ever see. Putting a different twist on every concert, Cave will hold you utterly captivated.