Supergrass review
Supergrass, Pilotdrift
Vic Theatre, Chicago
Tuesday, February 14, 2006
Growing up comes at varying intervals depending on the band, but in the case of Supergrass, it has hit a maturation stride with 2005’s Road To Rouen. That’s not to say the group’s previous projects didn’t have elements of evolution or seasoned songwriting, but nowadays the group’s alternative rock revelry and occasionally mischievous subject matter have been replaced with a more subdued, introspective disposition that’s also made for a remarkably moving, nine-track listening experience. The real test now is to translate the material to the concert circuit, which resulted in a mixed bag of boredom and brilliance at its somewhat-full Valentine’s Day appearance.
It’s a shame the guys decided to start on an extremely slow note, opting for an unplugged set rather than saving it for a romantic midpoint of the evening. At first, frontman Gaz Coombes stepped into the spotlight’s glow armed only with an acoustic guitar, somberly strumming his way through “St. Petersburg.” Bassist Mick Quinn joined him come “Caught By the Fuzz” (Supergrass’ very first single) but it seemed to catch fans off guard expecting a more pumped up version later on in the engagement. Then, rather than rocking out, remaining members Robert Coombes (keyboards) and Danny Goffey (drums) perpetuated the languidness with the easygoing “Sitting Up Straight.”
Luckily the tone improved slowly but surely, starting with “Low C,” a delightful Beatles-esque power pop cut that was the first significant sign of life. Another Road To Rouen alum, “Kick In the Teeth,” also came across with guitar ground spunk, recalling more straightahead rock ‘n’ roll and abandon. Yet Supergrass couldn’t keep the mood from slipping with yet more reserved recreations; a short segment highlighted the subdued keyboard dueling of the Coombes boys, which included some short tranquil electronic samples. The real fire didn’t return until favorites like “Grace” and “Pumping On Your Stereo” emerged, touching on the most joyous qualities of the last wave of Brit-pop and peers like Oasis or Blur.
“Strange Ones” served as the initial portion’s finale, building with momentum and chord thrashes that eventually resulted in Gaz flinging his guitar to the ground. However, to once again demonstrate the poorly planned set list, the mood dropped right back down for “Fin.” Not only was that anticlimatic, but the transition toward the incredibly intense follow-up, “Lenny,” came across as abrupt, abrasive, and downright jarring. As a result of such distracting decisions, Supergrass’ latest visit to the States paled in overall comparison to 2003’s Life On Other Planets tour, and despite some glimpses of greatness, would’ve benefited from more cohesive pacing.
Opening act Pilotdrift appeared to execute its plan to the fullest by unfurling 40 minutes of dreamy experimentation and an atmospheric pop/rock blend off its new Good Records release, Water Sphere. The Texarkana-bred group is best known for rising up alongside The Polyphonic Spree (whose members Tim DeLaughter and Julie Doyle just so happen to own that label) plus stage time with Eisley. Like its highly creative mentors, this eclectic quintet throws the rule book out the window both on record and stage, pouring in a mixture of ethereal piano tinkering, rollicking electronic elements, meaty basslines, and melodic vocals.
Tunes like “Caught In My Trap” and “Passenger Seat” were just as engaging as they were odd, sometimes sounding like Spree’s wall of sounds or the Doves’ more English-oriented lushness meeting mild hints of Radiohead. To round out its intricate introduction, four of the players pummeled through a blistering percussion jam, which included the traditional kit, a small tom, and a gigantic bongo. It was delightfully belligerent and brazenly bizarre, but a rousing way to make an early impression.
— Andy Argyrakis
Category: Live Reviews, Weekly
