Brandon Flowers in UK solo tour despite thorn on the flesh
Flamingo, Brandon Flowers’ solo album, has been received with endless criticism, all of them regarding its similarities with The Killers. Not so bad then, as it was meant to be a The Killers album, but upon the band’s decision to have a break the relentless musician decided to record the songs nonetheless. It sounds like a The Killers’ album because it was written with the intention to be one, and it’s also been done by a Killers’ member. More than an unfair critique, the said similarities are evidence of Brandon’s talent and relevance in the identity of the multi-million selling and multi-award winning band The Killers.
Solo works by established artists are always at risk of being compared to the works of their former (or in the case, current) band, and the artists’ talent meticulously measured accordingly. Perhaps an easier path would be to produce a totally different body of work, as recently done by Bloc Party’s Kele Okereke. Described as a lonely experience by Brandon, who is one of the very few Mormons in the music industry, the making of Flamingo might as well prove to be an upsetting one. But Flowers is flamboyant enough and should be able to get over the trauma and deliver the astonishing performances he is used to deliver with The Killers. And if all else fails, there is always God to provide support.
Brandon Flowers’ UK tour dates: Glasgow O2 Academy (Oct 12), Leeds O2 Academy (Oct 13), Liverpool O2 Academy (Oct 14), Manchester Academy (Oct 16), London HMV Forum (Oct 17), Birmingham HMV Institute (Oct 18).
Nick Cave has just released the sequel to his most recent music adventure, Grinderman 2, promising more of the same good, not so old, loud, witty and dirty music. The group formed in 2007 and works as an alter ego for the long running Nick Cave and the Bad Seeds, showing similarities to Cave’s post punk Birthday Party. Still raw and angry, only more mature and with moustaches.
Some bands are overrated, others underrated, and a few are simply taken for granted. The reason is not quality related, they have simply been around for such a long time producing consistent songs and in such a steady way that they are seen as part of the musical landscape. More or less like a cherry tree in the street: no one is really surprised or annoyed by it, but everybody gets to eat its fruits and notice its existence when in season.
On a recent promotional video Mark Ronson literally destroyed a harmless trumpet, explaining he didn’t want any brass sections, which became his trademark, in the new album Record Collection. For his third studio work he also decided to avoid recording covers, parting ways with his successful 2007 album Version, that featured songs from Radiohead to The Smiths with notorious vocals collaborations (Amy Winehouse and Lilly Allen to name a few), achieving three top ten charts and wining a Brit Award for Best Male artist in 2008.
There have been many musical and personal incarnations for Cliff Richard since the 50s. Rebellious rock’n’roll singer with the Shadows in the 50s, balladeer in the 70s, glossy synth-pop in the 80s, gospel singer in the 90s, romantic in the noughties, film star, sex symbol, Christian prude, auto denominated heterosexual who’s been living with a male companion for 9 years, generous philanthropist, eccentric figure whose face looks smoother as the times goes by, a Peter Pan of the pop long before Michael Jackson and so on.
With the coalition’s spending cuts pointing to a huge slash in the welfare system, it’s an interesting timing for an UB40 come back. After all, the band not only met on the dole line and was named after the form used for claiming unemployment benefit, but it’s lyrics also often tackle social issues such as racism and unemployment. Formed in 1978 in Birmingham, UB40 has musicians of English, Scottish, Irish, Yemeni and Jamaican parentage; a truly multicultural lineup reflecting the members working-class background.
The Cat Empire is better defined by what they are not: pop, rock, jazz, ska, alternative, salsa. While none of the labels quite fit the band, a little of each, mixed together, are the best possible definition of its sound. The eclecticism is reflex of the band’s diverse background – classical, jazz and rock musicians are part of the sextet, often increased by the fabulous The Empire Horns.