The Darkness - London Astoria - 11/11/03
5/5
By: Andy Willson
Life. Don't you find that, some days, it all falls into place. And, some days, it all goes distressingly tits-up? Fortunately, and despite the sky-high expectations, tonight is the former.
'I love it when a plan comes together!' Not only are we to be treated to one of the most-talked-about bands since The Strokes just as they reach the first peak of their career, but the scene is set with a mammoth screen masking the stage with stills from The Darkness' three videos to date. You would have thought this was enough, but no, it's backed up with a plethora of essential cheese-rock of the ages, from Bon Jovi to Starship, via AC/DC and - low and behold - Boston. Absolute class. It conjures up frightful visions of Justin Hawkins et al doing their pre-show headbanging.
Needless to say, in this Carling-branded 'Homecoming' show (yet aren't they from Lowestoft, Suffolk, not Soho?), the Astoria is packed to the rafters, and as the screen drops to the floor, the stage illuminates and the boys troupe on. Again, Hawkins arrives in view sporting leather trousers and a glitzy black T-shirt which is gracefully removed after a mere 3.5 seconds; a record for even him. As ever, guitarist Dan bears the 'Thin Lizzy' T he's been adorning for the past year, whilst Scots bassist Frankie, erm, as ever, bucks the trend with a black poncho, headscarf and well-groomed moustache. Drummer Ed, well, looks the same too.
This ain't no fashion-show, however; as the quartet's instruments (of destruction ©) are plugged in, they break into a swirling guitar intro which evolves into a crushing 'Black Shuck' and the place goes apeshit. The crowdsurfing kicks off, the moshing ignites and it's obvious which way this is going. Something more familiar, sir? Why not? 'Growing On Me' next, and there was us thinking this place couldn't get any more frenzied; we're dying in here. 'Love Is Only A Feeling' is majestic on its own, but add to that dry-ice which shoots thousands of coloured leaves into the air, and it becomes something you'll never forget. In true camp Darkness style, it's just another classic rock cliché... that works.
Our enigmatic/deranged frontman tells us a story about the next track being the first song on Radio 1 to mention the 'C' word, even if it was cleverly disguised, and as tonight's show is being filmed, we are given the choice of the clean or dirty version. Tough choice. As 'Get Your Hands Off My Woman' ends, we are asked to finish off Justin's words. He squeals 'Mother...' and we add the... you know, yet first to respond is the upstairs balcony, and then downstairs, both prior to another collective roar, loud enough to be heard in East bloody Anglia no doubt.
A quick break ensues and Mr. Hawkins returns in a trademark pink and cream striped leather jumpsuit, barely covering his genitals (his preference, you presume). 'Stuck In A Rut' and 'Friday Night' precede the second rousing finale, their signature 'I Believe In A Thing Called Love', and the boys disappear again, only for Justin to change into a further, silver jumpsuit and cape. Dashing. 'Givin' up' and 'Love On The Rocks With No Ice' follow and the whole of debut album 'Permission To Land' is officially exhausted. For the second of the two, Justin climbs on a security guard's shoulders to arc around the baying crowd.
This can only leave one song - the soon-to-be-released Xmas single: 'Christmas Time, Don't Let The Bells End', a track backed up by a choir of a dozen scruffy youngsters. As the final chords of the opus chime, the whole of the Astoria is blasted with silver paper making the place resemble the dome at the end of 'The Crystal Maze' (but luckily without Eddie Temple Tudor poncing around).
Then that's that. Phew. Aptly, the 'DC summarise it best; 'You Shook Us All Night Long'. Who needs light when the darkness can be this fascinating. Despite their being quite so openly hackneyed.
Artists in this article: The Darkness
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