The new-folk revolution is unstoppable and is taking over. If ten years ago Belle and Sebastian were a singularity in the rock scene, nowadays, from Toronto to Brighton, Seattle to Liverpool, fiddles and brasses have become cooler than electric guitars.
It’s probably not since Newport circa 1964 that rock music hasn’t had such a strong affair with popular roots, acoustic sounds and bucolic feelings. The latest battle of this peaceful war has been the conquest of the London Coliseum. The English National Opera’s sumptuous theatre, opened for a night of psych-folk in order to let the hippies experience their favourite music in an exceptional setting.
Noah and the Whale had the difficult duty of opening this rare show. After months of touring and with a debut album coming out in few days, they did it in style. They delighted the crowd with their mix of acoustic melodies, vocals, percussions and songs so brilliant that you constantly ask if they’ve rearranged forgotten traditionals or have crafted truly original compositions. They even playing the first ukulele melody where usually a full symphonic orchestra accompanies a soprano on the Aida triumphant march.
I can’t find a negative point about Noah and the Whale’s set except that, enjoying it so much, it was too short. During the break, I observe the technicians tuning electric guitars, bass and putting a piano and a organ next to each other. I wonder if “acoustic” tonight is being used in the same wide sense MTV was misusing “unplugged” ten years ago…
The Coral have never been a hard rock band and I struggle to imagine their acoustic setup played with electric instruments to be that different from the standard line-up. Nevermind. When the band enters the stage and four of them sit on the stools in a straight line, I think of the cover of CSN&Y 4-way street. My mind is now set to “acoustic”. Hopefully it’s 2008, Déjà vu is just a Neil Young movie and these folks (oh yeah!) are young and born on the Merseyside.
The imminent release of a singles’ album is the reason for tonights special treat. I’m confident in expecting a greatest hits set. It was, but with some added, and special, elegance. Coral classics are stripped down compared to studio versions; played with some more acoustic guitars but the best moments are when the lead guitarist indulges on his articulate arpeggios holding his electric baby.
There is a special guest moment with ex-Lightning Seed frontman, Ian Broudie, playing 12 strings on a couple of songs but, despite the guest, what impresses me from start to finish is the reliability of their songwriting. Four (and half) albums packed with highs and lows but when they cherry pick their best the entire set sounds incredibly harmonized and the crowd responds enthusiastically. From the early hit “Dreaming of you” to the new singles “Being somebody else”, I can’t perceive any weakening, any lack of inspiration in their songwriting.
Among the singles some new tracks are thrown in. I was impressed by “Green is the colour” probably because of the audacious cloning of a Pink Floyd title. A cover of Fred Neill’s “Everybody’s Talking” was a bit too much James Taylor for me, but the evening finished with the theatre singing along to the Everly Brothers’ “Bye Bye Love” which was a pure delight.
Six years old, The Coral are tonight confident and strong enough to move beyond their sixties psychedelic folk inspirations and join the front line of this alt-folk revolution. In the end they were amongst the first and they clearly seem to know and indicate the way.
