The Good, The Bad & The Queen live at Bristol Trinity
27 January 2007
Reviewed by Evening Post

MENTION the word "supergroup" and music critics can usually be found sniggering at the latest example of bloated rock star self-indulgence.

But try listening to Damon Albarn's new four-piece and see if you can find any flab on the bones. You'll struggle. In fact, quite the reverse is true.

No doubt expecting a backlash, Albarn and Co have kept their songs on a very tight leash.

In recent weeks, despite all the band's best efforts, the publicity machine has gone into overdrive. For the slow ones at the back, Albarn has tempted former Clash bassist Paul Simonon out of retirement and is joined by ex-Verve guitarist Simon Tong and legendary Afrobeat drummer Tony Allen.

Stepping on stage at the intimate surroundings of New Trinity complete with patriotic Union Jack flag as part of the backdrop, Albarn looked supremely relaxed and greeted the crowd with a giant toothy grin, safe in the knowledge that he had some great tunes in his armoury.

Simonon was the other star of the night - turning back the clock almost 30 years to his Clash heyday, he was all swoops and effortlessly cool showboating.

Playing the album in order, a superb History Song kicked off the show followed by the loping groove of 80s Life.

Tong, who was an anonymous sideman for much of the gig, shone on Northern Whale, showering verses with layers of distorted dubby guitar.

Unusually for him, Albarn has been quite open about the ideas behind these 12 new songs. He's stolen a march on the music journalists keen to pigeonhole him and already dubbed The Good, The Bad & The Queen's debut as "Parklife Pt. 2".

But this was no chirpy Britpop retread. Instead, the band served up a magnificently brooding collection of often dub-influenced songs.

The lyrics were full of images of apocalyptic London - the idea of an oncoming flood and the powerlessness Albarn feels about a war he wants no part of.

Such was the good humoured nature of the show that he called a halt on a misfiring Herculean twice: "I'm not 'avin that," he laughed. "This is supposed to be a professional outfit of fairly notable musicians!"

And while the rest of the band sorted themselves out he knocked out a quickfire version of Blur's Intermission instrumental much to the delight of the crowd.

It was third time lucky though and, backed by a small string section and Tony Allen's skittering drum beats, they nailed the song.

Behind The Sun was a classic piece of laidback Albarn tunesmithery with the singer turning in a fine falsetto.

Capping off the band's Victorian pick-pocket chic image, Albarn put his top hat on for a lilting version of The Bunting Song before swirling Hammond organ washes illuminated Three Changes, which neatly sums up the British as "a stroppy little island of mixed-up people".

Albarn also injected palpable drama into the song which soon mutated into skanking reggae, once again bossed by Simonon's imperious basslines.

They ended their main set with a feverish version of the album's title track.

At the encore, the singer dusted off his melodica for a sweet instrumental and invited rapper Eslam Jawaad onstage for a spirited performance of Herculean B-side Mr Whippy.

But there was still more to come. Tong took over on bass and Albarn and Simonon strapped on guitars for a mighty version of the Clash classic The Guns Of Brixton. It was a stunning way to finish a classic gig.

 (5/5)                                                                               Steve Harnell