Seldom can strings of superlatives have appeared so hard on the heels of
each other than in the deluge of recent postings to Midnight Voices
following Pete Atkin and Clive James' appearance at Buxton Opera House.
And quite rightly so. But it is a sobering thought indeed how close the
evening came to not happening at all. When the possibility of the event
was first put to the MV list many months ago many expressed concern that
Pete would be playing to an empty house, an eventuality of such
demoralising proportions as to halt the momentum of his on-going revival.
I secretly shared these doubts (a room above a pub is one thing, but an
entire theatre?!) and so breathed a sigh of relief when plans were
(temporarily) shelved (see MV passim).
Oh ye of little faith! How wrong could we have been? How wrong is it
possible to be?! When push came to shove, an audience of more or less 600
turned out to see the show, and for that reason, this review will be brief,
almost all who will read it having been there to form their own opinions!
Pete played a total of 27 songs mostly taken from the six released albums.
Songs from Pete's second album, DRIVING THROUGH MYTHICAL AMERICA featured
prominently (seven titles). Good news from a personal point of view, as
this is the album which I play most. The remainder of the set was more or
less taken equally from the other albums. I wonder to what extent the MV
chart figured in Pete's choice of songs for the evening? Pretty highly,
judging by the set list! Isn't it just great to go to a gig and not have
to put up with a single duff number or space filler! Also in the set were
several unreleased numbers, by now familiar to devotees and gig-goers,
taken mostly from the seventh album demos. Included was a completely new
song called HILL OF LITTLE SHOES, a moving account of the children of
the holocaust, and to the delight of the audience, (bravely) sung by Clive
James.
After 20-odd years of relative obscurity, playing an occasional folk club
for friends and followers, it is no wonder that Pete (and Clive too for
that matter) seemed a little nervous at the off. After all, a packed
theatre is a far cry from a small room full of familiar faces. But they
need not have worried. As one of the Voices pointed out in a recent post,
the audience generated waves of warmth. Indeed, two Stars were soon
surfing on the neap tide of pleasure flowing from an enthralled and
delighted sea of faces. Pete kicked off with WHERE HAVE THEY ALL GONE?
and segued straight into THE LUCK OF THE DRAW, delivered perhaps a little
reticently but warmly received. A string of storming faves followed, all
introduced by Clive James with his mix of candour and acerbic wit, not to
mention many insights into the lyrics. I remember thinking that the intro
to THE PEARL-DRILLER seemed a little long; it seems Pete was struggling
for the first line, eventually appealing to the audience for a prompt!!
But it makes it a truly live event. And let's be honest, you could no
more easily commit to memory the complete works of Shakespeare than the
entire canon of James/Atkin lyrics, something in the order of 200 songs! The
first half of the show came to a close with the energetic and
popular-as-always WRISTWATCH FOR A DRUMMER . Nice to see the song still
getting laughs; just proves the point that there is a new audience for
these classic songs which so many people know so well.
Part two commenced with a humorous and spirited session of answers to
written questions taken during the interval. By this time, both Pete and
Clive were relaxed and on top form and the intimately cosy mix of Pete's
playing and Clive's banter flowed naturally and effortlessly towards the
final curtain, at around 10.30pm. Although we will never see Clive guest
live with the three tenors, it was great to see him joining in with some of
the songs - a duet with Pete in LAUGHING BOY and solo in
A MAN WHO'S BEEN AROUND and the all new HILL OF LITTLE SHOES. It reinforced the fact
that despite Clive's long absence, the songs truly are the product of a
partnership: Pete, the master-craftsman of melody and harmony and Clive the
elusive and sensitive wordsmith.
I was somewhat surprised that Pete did not make greater use of the acoustic
grand piano, occupying centre stage. So much of his music lends itself to
this medium. In fact, when it was time for the second and final encore,
the sublime HISTORY AND GEOGRAPHY, Pete had only played
a couple of numbers on the piano. He was trying to find a suitable sound patch on his keyboard when
one of the voices (oh all right, it was me..!) called out the suggestion that
he play the song on piano. Anyone who has heard the version of this song
on the Monyash CD will know why. I know Pete is fond of his keyboard and
indeed it comes armed with some fine sounds although personally I'm not
convinced by the rather 'plinky' sound which he favoured at Buxton and at
previous gigs to accompany COMMERCIAL TRAVELLER.
On reflection, given the lyric of the song, perhaps he is trying to portray
a childlike simplicity through the celesta setting?
But this is small criticism indeed. Overall, Pete's delivery was polished,
accomplished and immaculate. It was by far the best performance at which I
have been present. A combination of sheer talent, setting (BOH is beautiful),
production (sound and light both excellent) and last but not least, the
audience willing the pair on came together to create a truly magical
evening, the success of which cannot be overestimated. Perhaps the moment
has come when the balance will finally be redressed and, with Clive James'
continued support, this shamefully underrated act will command the
attention and respect which it deserves.
Gerry Smith
Thanks to Ian Chippett for the set list, which was as follows:
|
|
See also Richard Corfield's review.
Other reviews: Islington; Eastbourne