The sad demise of Supergrass in 2010 was inevitable really; the band had run its course after 17 years in each others pockets. Fortunately that time produced music that for many will remain a soundtrack to their lives, a permanent tattoo.
With a talent for infectious melodies and exuberant performances, Supergrass’ humour was never far from the surface, which amplified their appeal and charm. And unlike their contemporaries they never seemed to take themselves too seriously, despite being every bit as much their equals, and in many instances better. It comes as a great relief then that 2012 see a series of solo projects to fill the ‘grassless void.
Situated in a basement with a character not dissimilar to the Industrial Zone in The Crystal Maze (with a bar), London’s XOYO is a relatively small venue for a man of Gaz Coombes’ status. Usually associated with festival top lining, Coombes’ solo tour is like a personal encounter with the former Supergrass frontman and all the more rewarding for it.
A crowd of 300+ loyal Britpoppers caught by the buzz first time around packed the venue for what would be an exhilarating setlist that shredded a path though the Diamond Hoo Ha Man’s career.
Received by enthusiastic whoops and applause the band kicked off with ‘Bombs’ – a tranquil loop-tastic sweep of synths and beats permeating the wall of floodlit dry ice. But the serenity was immediately shattered by the distorted throb of ‘Hot Fruit’ and the stomp of a galvanised audience.
As the lights continued to strobe the stage the band fired up with ‘Sub Divider’; its neurotic arrangement climaxing with a spiky breakdown and Supergrass-esque chord progression that led to calls for hits by his former group. But for now the focus was on his new material and rightly so for it’s a thrilling mix of familiar and unfamiliar; overtones of Supergrass but more experimental and free form. A song like ‘Universal Cinema’, for instance, would never have worked under Supergrass and yet it is one of Coombes’ finest works and a true highlight of the gig. The audacious six minute trip nods to both Radiohead and the late 60s Beatles techniques.
Meanwhile fans that caught splinter group Hot Rats would have recognised the feisty cover version of Gang Of Fours‘ ‘Damaged Goods’. Transformed into an acoustic tour de force tonight, it illustrated the influence New Wave has on Coombes’ own writing and arranging. The same can be said of their excellent cover of ‘Mirror In The Bathroom’ by The Beat; a truly rousing rendition to the set that surpassed the original in terms of sheer energy and delivery.
In fact the band’s drive was unshakable throughout – a powerful unit, bottled dynamism – and the perfect foil for his unique voice which has lost none of its range. From the full throttle holler of ‘’Whore’ to the pensive soulfulness of ‘Sleeping Giant’ – Coombes’ vocal prowess and flexibility was, and is, impressive.
Of course no one can escape their past and with a back catalogue as strong as Supergrass’ why would you want to? Drawing the audience briefly to more familiar territory were tight acoustic versions of ‘Moving’ and ‘Sitting Up Straight’ that resulted in a delighted pogo-ing roar from the crowd.
However, the evening’s pinnacle was ‘Simulator’. Having already received extensive radio play over the summer it has made its mark and burrowed its way into public consciousness, Coombes alternating between impatient jagged verses to angular fuzz-toned choruses effortlessly.
Supergrass may have ceased to be but Gaz Coombes is carrying the flame, a passionate performer, remarkable musician and consummate showman.
Progressive Supergrass? Yes please. We can feel the change…
