Television - London Queen Elizabeth Hall - 19/6/02
4/5
By: Toby L
Set-List: 'Swells', '1880 Or So', 'Venus', 'Squaggle', 'Prove It', 'Omi Adore', 'Little Johnny Jewel', 'See No Evil', 'Call Mr Lee', 'Glory', 'Rocket', 'Rhyme', 'Marquee Moon', ENCORE, 'Psychotic Reaction', 'The Bowie Waltz'.
From a sweaty and packed CBGBs in the heart of the late-70s during the thriving New York punk scene - to the seated sophistication of Britain's Queen Elizabeth Hall in the 21st Century... But what's really changed in the world of Television?
Tonight, the innovative and highly influential four-piece - in the same original format as the genius ensemble which produced the legendary 'Marquee Moon' LP - are playing a rare UK performance at the personal request of one Mr David Bowie, who has curated the 2002 bill for London's usually-fringe music and arts festival, Meltdown.
This evening, sold out - as is the show that the 'Vision are set to be playing tomorrow as well in the same venue - certainly makes for a perplexing spread of attendees. Largely, however, it's the original punks that are out in force, donning T-shirts emblazoning the names of fellow scenesters of the time, though all appear predictably less raucous than in prior years, probably having left behind the madness of youth and choosing to enter into the rat-race of what constitutes 'modern living'. This Television show, thus, for such types, must be a welcome opportunity to step back to the past with the peers that they originally enjoyed the music with in the first place. Though how will the experience, when placed in a present setting, compare to days gone by..?
Seemingly, quite well in fact. From the outset, the evidence is looking good: ecstatic cheers, bellows of band-member's names, song-requests - by the time the band themselves reach the stage, stared down from above by a single row of blue lights which exist throughout, they can't avoid smiling excitedly, immediately ruining their so-called depiction as a group with an 'aloof charm'. Opening with the enthralling atmospherics delivered within the form of 'Swells' and '1880 Or So' - the latter as provided on the quartet's most recent and self-titled album from '92 - although the experimentation proves an intriguing, often captivating experience, as they kick into the intro of the up-tempo grind of 'Venus', you know that nothing can compare to a good knees-up.
From here on in, they effortlessly glide through an hour and a half's worth of material from all sectors of their career, demonstrating faithfulness to previous endeavours, yet combining with that a refreshing unmethodical delivery; accordingly, as hit-single 'Prove It' glides into a sumptuous solo-serving from frontman and dual-guitarist with Richard Lloyd, Tom Verlaine, although possessive of the memorable melody and credentials which allowed it to be a 'hit' in the first place, there's an openness to its tight structure which allows you to think that the band are capable of producing anything but the expected.
Aside from such a moment, the chugging and growling repetition of 'Little Johnny Jewel' - the group's first original single - is a fitting precursor to the classic rock 'n' roll riffs, licks and hooks of a vocally-charged 'See No Evil' and the meandering beauty and scraping, squeaky guitar-bits (for effect, of course) of 'Glory' - the only excursion of the evening into second-album, 'Adventure'. Although the following and haunting brooders 'Rocket' and 'Rhyme' supply a softer edge to the group's focal-interest, it's the main set-concluding, 20-minute assault of 'Marquee Moon' which provides the epic and major mouth-drop-open moments, complete with relentless thumps from Fred Smith and Billy Ficca and soaring six-string action naturally from Verlaine and Lloyd.
By the time they return after a surprisingly noisy and appreciative encore-break, it's actually quite unnecessary; although, admittedly, it's amusing to see 'Psychotic Reaction' segue into 'The Bowie Waltz' - a instrumental with obscure song-lyrics from David's classics, obviously played in homage to the man of Stardust himself - the band have triumphed already, the rest: a mere bonus.
Clearly, what time gives to a band such as Television after all these years may be the stripping away of their original attitude and punk-image, yet also the opportunity for them to retrace musical numbers from the past and play them with all the skill, precision and true talent that has ensured their material to withstand ageing. Their comeback therefore is unquestionably valid - and hugely needed.
Artists in this article: Television, Television Personalities
Your Feedback
Login to post your comment