Review: Razorlight, Strange Brew – ‘Exceeded some expectations, confirmed most’

When I heard that Razorlight were playing at Strange Brew, I thought it was a mistake. Turns out the band are back, with original members, and just fancied getting their new tunes out there; so they’re smashing out a run of intimate shows.

What better place for this than the colourful space set up at Strange Brew. Lit up and covered in art, it’s a vibrant and inviting venue that excites me whenever I see anyone intriguing announced there – let alone a band of Razorlight’s stature.

So we gathered, to celebrate the impending release of their fifth album, on Planet Nowhere eve, with the record set for release at midnight.

Along for the ride was Zoe Hayter who was more than pleased to be here to play songs from her EP Raw among others. Zoe came equipped with Dr Marten tambourines, ankle bells & folk tales to tell.

She told of being invited to play these shows last minute, after a gig in the US, and seemed as surprised as I was to be in such a small venue in Bristol with Razorlight. Her songs are autobiographical and touching, her performance is indeed raw as she stamps her feet to create a percussion backing for her delicate folk.

Ageing Clown is a set highlight. As Zoe tells the story of her grandad who has the name Paddy Hayter – a great name for any Irish man! – she has us, reluctantly to begin with but eventually, singing along to a refrain in his honour: “A rocking chair is pretty good for an ageing clown, a rocking chair’s pretty good but you can’t keep a good clown down”.

 

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Before we know it the boys take to the stage and I’m surrounded by Razorlight fans, seeing their favourite band up close, somewhere so compact and delightful. They, of course, smash the set open with Rip it Up, with its demanding opening line, “Hey girl get on the dancefloor, that’s what it’s there for!”

The crowd is pleased in an instant. In the Morning is what everyone in the room wants next and it sounds majestic, with sing-alongs galore. Newbie single Zombie Love hits us next and is almost seamless, taking us forward 20 years but sounding like it could be from 2004’s Up All Night.

The band has clearly been busy away in Spain perfecting their sound before getting back to fans with this infectious poppy on-record but punchy-punky live album. The set takes me everywhere from Talking Heads to The Clash, making me want to mosh, then sway and click. It has a continuous groove, epitomised by Scared of Nothing.

“This is the sound my insides make,” wails Johnny Borrell before letting loose, all feedback and flailing sweaty curls. By this point the vocalist is melting, denim jacket off, Nowhere badge on. Andy Burrows is shredding the drums on April Ends and the whole thing is one giant indie dream.

Cool People is new to me and has me hooked instantly,  as Borrell takes a swipe at love-bitten skinny-jeaned indie cool types: “There aren’t cool people in this band, we ain’t those phony motherfuckers, can’t you fucking understand?! What do you want me to do, turn up in shades and pout?”

The crowd is enthused throughout and cheer equally for new and old. We’re clearly in for a treat with the new album.

The encore opens with Vice, a short scuzzy, strident marching shout-along classic of a song, one that embodies their sound in so many ways. Seeing it up close was an extra special experience for these fans.

America closes a set that exceeded some expectations but confirmed most. Razorlight’s newest songs work in unison with the old established hits and will fill larger venues throughout the country from now on. As I leave my voice is hoarse and Zombie Love is stuck in my head. Bring on Planet Nowhere.

All photos: Matt Barnes

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