Brass Moustache @ Joseph's Well
By Francois El-Alfy"Smile... JUST SMILE!" Cue camera flash.
"Oh, Mum!"
Not the most auspicious start to a gig, but what can you do to control proud parents? Whatever it is, HIPSTREAM haven't found it yet, but they still managed to get over their embarrassment and crack on with a bit of rare groove. The problem with the whole funk/jazz area of live music is that you get reviewed on a different level, though. It's not good enough simply to be tight or musically proficient - you need something extra to justify your place in your world and prove you're a step beyond the 'corner of a restaurant' starting point for the genre, and I left last night unsure if Hipstream have that edge. They certainly play very well, and the vocals were accurate and had some feeling, but I'd heard it all before ten years ago during too many misspent hours at the Jazz Cafe. Attempts at transcending the fragile boundaries between styles were convincing, but nothing Corduroy or JTQ haven't done before. Even the Goldbug-esque rendition of 'Foxy Lady', while well delivered and effective in filling the dance floor, left a few of the punters not used to this sort of thing screwing their faces in disapproval. Still, they deserve much credit for their ability. If this had been a band playing typical 'alt-rock' noise with this much competence, the room would have been blown away - trouble is, you rarely get blown away by white funk, do you? The obvious Isley Brothers/Parliament keyboards and rhythmic vocal lines left some scope for foot-tapping, and had I been at a Jazz club for a night's dancing, I would probably have loved it, but as an isolated live experience I remain unconvinced.
The unlikely question of "What do you get when you slap acoustic guitars and rapping over Norman Whitfield bass lines?" was answered by SPOSH. Apparently under-dressed tonight ("Now I know what she'd look like first thing in the morning", said one of my companions), singer Danielle still had the male half of the room captivated with an abundance of sassy stage presence. I don't know what it was about the music, but I liked this band instantly. Excellent rapping work from Laura, who hammered her guitar with precision and passion throughout, an almost too tight rhythm section, and floated melody and stabbed harmonies from the constantly gyrating Danielle, made a sound I'm fairly certain they can call their own. It's this twist on tired formulae that makes the difference to funked-out ears, and few bands pull it off on a local level - with only the excellent Bluefoot Project succeeding to my memory in recent times. My only real criticism is that despite a 'ballad' midway through the set, which lost the attention of the chattering audience, there was very little variety. By the end I found myself hoping that each song was the last, just so that I could leave with a resoundingly positive memory of the band. That said, I imagine with the resources of a studio they would work very well - with many a remixer capable of producing alternative versions to offer variety - and I would certainly see them again, as would most of the room. There is always a place for originality in music, especially with such competent delivery.
Then came BRASS MOUSTACHE for their send-off gig. It's a sound I've grown to like recently, this mishmash of slacker attitude and funky bass, and they didn't disappoint, but Tom on double bass stole the show for me. Coming on in a hairy coat, shorts, and leopard skin hair to match his bass he definitely looked the part, and as far as musical proficiency I was in open-jawed awe for long periods of the set. I'll even forgive him for not performing the mandatory 'spin' of his double bass. Musically they came across like Mellow Gold era Beck without the rousing choruses, or perhaps a laid back Red Snapper, and there is plenty of scope for this style - as the Dust Brothers recently proved when they got hold of 10c to produce the astounding Buggin' Out album. Songs about Bobat Enterprises (the heart of Hyde Park mafia, apparently) and any number of inane, quirky subjects got audience members who knew the words grinning, and for the most part the healthy crowd seemed to be enjoying the night. Fully hatted-out singer/guitarist Marcus was having fun, too, in between drawling vocals and nerve-jangling guitar. Herein lies the only real problem, though, there was only one real melody used for every song. Given that the music is driven more by feel and groove than anything else, this can perhaps be forgiven, but although I had to miss the (deserved) encore, I felt I didn't miss anything I hadn't already heard.
In all there were three very good bands on that fitted well together, offering an alternative to the glut of guitar-pop present in Leeds, and I sincerely hope these Blue Star nights return after the summer. I love a bit of rock'n'roll, but it is nice to know that some musicians haven't yet given up on the grooves.
