It’s been a long time since the
roogie boogie visited this part of town. I’ve been all caught up in suits and
presentations and unable to get any thoughts down other than those that
generate pay slips. I haven’t been
writing about music. And sometimes listening is not enough.
Where’s the fun gone in all of
this?
Luckily Euros was back to revive the vibe.
Luckily Euros was back to revive the vibe.
Euros Childs has been
officially released from House Arrest and is now out and about to bring us
light ( and some dark) in the winter evenings.
It’s been two years since he was last in this part of town. So it only
seemed right that I should spend time in his company two times – and as luck
will have it he decided to play two wonderfully storming utterly beautiful
‘shows’ in London.
So the roogie boogie is back.
Well - a different type of roogie boogie
Double the time and double the
pleasure.
And it’s always a pleasure when
Euros is in town. His errant psychedelic left field skewed view of the world
can’t fail to delight. And delight it does with the packed house in North and
South London on a Sunday and a Monday evening this week.
Tonight Euros and Rosie are a two piece
bent on giving us a rocking good time. It’s a different experience to the
Roogie Boogie band but no less intense. The addition of a new Moog strengthens
the bass and (rouche) rumble within the mix.
Moogie Boogie.
And at the Sebright it’s genuinely heart shaking – the moog that is - although that might have been where I was sat – or where I’m at.
Moogie Boogie.
And at the Sebright it’s genuinely heart shaking – the moog that is - although that might have been where I was sat – or where I’m at.
The stage is set up and is reminiscent of a low
budget indie Rick Wakeman – lots of keyboards and wires (and a phone – for the drums - well some of them) and a lonely two piece kit at the back. And whilst Euros
isn’t playing a brand of noodling prog rock ecstasy there’s a nod to it –
especially the wigged out psychedelia of Dust – heard on both nights in a
mighty melee of sound and confusion –
all fingers and palms and repetitive bass.
As ever Euros entertains – how can he not – and there’s something magical when these songs come alive in packed houses – and both were packed houses.
As ever Euros entertains – how can he not – and there’s something magical when these songs come alive in packed houses – and both were packed houses.
The 'House Arrest' tour has only
just begun – date after date in carefully considered venues across the land and Euros always seems to choose interesting venues - both shows in London are in great places – I
arrived early on Sunday to the Sebright Arms – a lovely venue – with fantastic
sound- tucked away behind a main road in Cambridge Heath.
Euros has a new long player to plug and sometimes you head into these journeys knowing what to expect – but this time I wasn’t sure – I had listened to the album once – in fits and starts – I had some idea of melody and lines but hadn’t yet immersed myself in Euros’s world. So there was that thrill of the new – the unexpected in the air.
This was also Euros without the Roogie Boogie band - it’s a new band I guess.
Euros has a new long player to plug and sometimes you head into these journeys knowing what to expect – but this time I wasn’t sure – I had listened to the album once – in fits and starts – I had some idea of melody and lines but hadn’t yet immersed myself in Euros’s world. So there was that thrill of the new – the unexpected in the air.
This was also Euros without the Roogie Boogie band - it’s a new band I guess.
It’s the new thing.
I also had my picture taken by a
man who was convinced I was Vic Reeves. He wouldn’t let it lie.
Rosie opened up for the main event ( at the Sebright) in the guise of 'Oh Peas' with soaringly tragic and introspective black anthems about loss and love. Not exactly cheery – but bleakly magnificent if you like to shed a tear on a Sunday.
Then Euros arrived to the theme
from Ski Sunday (which is actually
called “Pop Looks Bach’ pop pickers) As
you know by now a Euros concert is one underpinned by incredible songs and
heartfelt laughs – he never misses a beat – the audience murmur to each other
beforehand that seeing him always leaves you happy – that he makes you
laugh ( in a good way)
And that’s the Euros experience
in a nutshell – I’ve been watching him in various venues for years now and
always leave feeling some how happier. The set tonight is a mixture of the new
and some old – but it wasn’t what I expected. Songs are pulled from House Arrest, Refresh,
Cousins, Bora da and Son of Euros – I think. I never got hold of the set list
so I’ve been trying to piece it together in my head.
I wasn’t sure about 'Refresh' on
first hearing – it was difficult and seemed to be facing inwards – explosive in the layers of samples and resamples. But if you keep on in there it is
refreshing (see what I did there?) And 'Pick it Up' is exceptional in its
airing on both nights – basically a rallying call to pick up the shit on the
street, in the park, on the beach. It takes a mundane thing and transcends to
the magically. It’s about shit – shit on your shoe, in your hair – it’s
thoroughly far out.
On stage Rosie and Euros flit
between synths ,drums, guitar ( well not so much the guitar) and phone (for the drums - there’s an App for that) to summon up
melody fuelled monsters of delight. There’s that open honesty in the songs that
is somehow infectious to the watching audience – creating connections from the
darker end of the street. Songs about eating disorders – Euros needs a list tonight
– hastily pushed to the side of the keyboard to name all the foods that 'Christy
and Misty' get through – not to mention the
waiter who ends up on a spit and with its tempo changes and refrain you get a sense
of Sgt Pepper – especially Being for the Benefit of Mr Kite, or the obsessive 'Shower' taker – safe within the waters of his own home, the yearning ambition to
pursue a 'Stuntman' career, the trials of being a bag – a 'yellow bag', an incredible version of 'Peanut Dispenser' - which surely must be it's first airing in years and years - and I haven't been able to shake it from my head for days - or just the
bliss that it is to exist in a 'Happy Coma'. Which gets us all singing the chorus
and empathising that not all things are bad. Well not until your life support
is switched off.
And of course colanders. Mine is
rocking back and forth. How about yours?
The set tonight is wonderful –
the sound is sharp, taut and visceral. And we get 'Look at My Boots '– at first a
stuttering attempt at the end of the set that eventually becomes 'Jane (Not her
real Name)' from Cousins – which is a bonus.
But then correctly in the
encore. A song of studied coolness about
boots and fridges.
Waiting for Euros to comeback on after lights down at the end of the set you can feel that energy he creates – the crowd are chanting – I’m clapping – they are clapping – we are all clapping and there really was a roar when Euros returned to the stage – he’s a well liked man – they are a well liked band in these parts.
Waiting for Euros to comeback on after lights down at the end of the set you can feel that energy he creates – the crowd are chanting – I’m clapping – they are clapping – we are all clapping and there really was a roar when Euros returned to the stage – he’s a well liked man – they are a well liked band in these parts.
But I’m out the door on Sunday -
no time to wait in queues for CDs and signatures – but it doesn’t matter as I’m
seeing Euros in Nunhead the next night – closer to home.
Nunhead is a different affair – all knitting clubs and real ale. The venue is a community run public house and venue – it's a nice place – with gold lame curtains on a foot and half high stage – sort of ballroom blitzed. Tonight there are two other turns before the main event – Garden Centre a fella and basically a neurosis belting out childlike squalls and screams about things I have little time to care about. And then The Gentle Good who's worked with another Mynci - all intricate picking and lilting songs of moths, birds, love and open water, the rightside of folk for me – not overly jumpers and roll ups.
Nunhead is a different affair – all knitting clubs and real ale. The venue is a community run public house and venue – it's a nice place – with gold lame curtains on a foot and half high stage – sort of ballroom blitzed. Tonight there are two other turns before the main event – Garden Centre a fella and basically a neurosis belting out childlike squalls and screams about things I have little time to care about. And then The Gentle Good who's worked with another Mynci - all intricate picking and lilting songs of moths, birds, love and open water, the rightside of folk for me – not overly jumpers and roll ups.
Tonight the entrance is to the
Monty Python Theme (actually called Liberty Bell – pop pickers). Now just so
you know two nights of Euros really isn’t that excessive in my book – but I had
been asked why I was going again considering I’d seen the band last night. I
don’t think I need to explain it really – I’ve said it here before – being in a
room with Euros makes you feel good. And I could see some familiar faces in the
crowd – we’ve been standing in rooms with Euros for sometime.
We will continue to stand in rooms with Euros.
We like it that way. And I was
only coming from down the road – I spoke to a Japanese woman – Fujiko (I think
that’s her name) who I have seen at many of these nights – she had come from
Tokyo. So let’s get it in perspective.
I like Euros Childs. Lots of us
like Euros Childs. She really likes Euros Childs.
Tonight was just as brilliant. A
set peppered with the same songs from the previous evening but mixed up a
little. The sound was dense – and didn’t pack the clarity of the Sebright Arms
( ‘More drums’) – if I’m being critical
- but there was still the beauty in the
room. ‘Turning Strange’ sounds
magnificent on both airings over the weekend – in theory its 80s sounding
chords shouldn’t work – but Euros weaves that simplicity and feeling through
it. It has a Brian Wilson nod – like it could have been co produced by Dr
Eugene Landy and ended up on Wilson’s first solo album.
It’s mesmerising. Full of harmony and warmth.
It’s on the new album – you
should buy it.
You probably have.
And then with a final flourish they finish with Godmalding (pronounced – God -Mal -Ding to help with the scansion – as it
didn’t know it was going to end up in a Euros song) the night was over.
I hope that Euros is not placed
under House Arrest for another two years.
He's been missed.
But just so you know he will always have a welcome
roof in this part of town.
You can buy the album from the man himself from here You can also get all the other albums too - and you know they are all worth a listen.
The House Arrest continues right up till mid December - see him before he returns home and gets locked back in again.
Here are some videos from Nunhead The Ivy House - I can't find any from the Sebright Arms ( credit to the people who filmed them - thanks)
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