Fading lights - Genesis at the O2 Arena

Picture: Instagram/Genesis-band

Clearly, I’m a devotee of unfashionable causes. When news broke that my football club’s owner was being sanctioned for his association with Vladimir Putin, and the club itself was to be put through the ringer as a consequence, there was little sympathy from across football’s tribal communities. Likewise, I knew that I wouldn’t enjoy all that much admiration (or is it empathy?) for going to see Genesis on Friday night, on what would turn out to be their penultimate live performance, 54 years after forming.

I’ve long accepted that Genesis are a Marmite band. A guilty pleasure, even. Amid the devotees from their origins as one of ’70s progressive rock’s pre-eminent acts, and those drawn to their catchy, mid-’80s MTV dominance, are those who just never got them (or saw them as just another outlet for Phil Collins’ ubiquity). Then there’s another group - those, like me, who’ve seen good in all their guises. Over the course of three nights at London’s O2 Arena, 60,000 fans of, mostly, a similar venerability, were of the same view. 

These were the final performances of a tour that had been truncated by the coronavirus (the first scheduled dates were delayed by lockdowns and then the London shows got postponed again by a band member testing positive for Covid), which started to feel like a stay of execution. The tour itself had been named ‘The Last Domino?’ - an intentionally ambiguous in-joke but not without its inevitability, given that an increasingly immobile Collins, robbed of his truly unique ability to drum by a congenital back problem and other health issues, had indicated that this would have to be it. Compared with other still-touring bands of a certain vintage (the Rolling Stones come immediately to mind, and Paul McCartney), the core surviving members of Genesis - Collins, keyboardist Tony Banks and guitarist/bassist Mike Rutherford  - were all 71 as they took to the stage on Friday (the still youthful-looking Banks turned 72 yesterday), so there’s nothing materially requiring them to bring the band to a halt. But from the moment Collins walked on stage, slowly and assisted by a stick, to take the seat he would occupy for the next two hours, it was clear that this Genesis would be different. 

Picture: Instagram/Genesis-band

With his stage school training, Collins was always an impishly lively frontman, ever since he came forward from the drum stool in 1976 to replace the outgoing Peter Gabriel. Live reviews frequently referred to his end-of-pier schtick, a change of tone from Gabriel’s eccentric but hesitantly-delivered fantastical stories which he used to tell between songs as the band retuned their notoriously fussy 12-string guitars. For the live version of their minor 1973 hit I Know What I Like (In Your Wardrobe), Collins developed a remarkable tambourine tarantella, colourfully extending the percussive agility that easily made him a peer of other thunderous drummers of his time, like Bonham, Moon and Rush’s Neil Peart. But no more. Knowing this, some expectation management would be required. 

This was to be a farewell performance, not just a wallow in nostalgia. Not that there was an obvious air of mourning in the air. Opening with Behind The Lines, the song I first saw them open with 41 years ago at Wembley Arena, the hair on the back of my neck raised a little. From that first moment of hearing and ‘seeing’ that song performed live, it has always struck me as the way to open any gig. “Brrrrang!” chimes the opening chord, followed by a fanfare-like keyboard riff. If I ever formed a band myself, I’d want to kick-off a gig like that. 

Long before the video hits, and throughout the years when they weren’t seen as ‘commercial’, Genesis were always a live band. Despite Gabriel, Banks and Rutherford (along with original guitarist Anthony Phillips) regarding themselves more as songwriters than rock stars when they started out, their shows never lacked impact, visually or musically. That has largely been down to the material, songs which - even in the band’s more pop-orientated era - have lent themselves to entertaining engagement live. I may not be a huge fan of the hits that came out of the ’80s, but the albums they were written for didn’t lack the more epic grandeur Genesis established as their stock in trade in the ’70s. 1986’s Invisible Touch album netted five hit singles, more from one album than the band had enjoyed in, then, 20 years of existance. It’s title track is still one of my least favourites, but others - performed on Friday like Throwing It All Away, Tonight, Tonight, Tonight and Land Of Confusion (whose Spitting Image-based video was tweaked to reflect the chaos of Covid), still stand up strongly live.

Picture: Instagram/Genesis-band

In 1977 Genesis released the live album Seconds Out, recorded on the tour for only Collins’ second album as lead singer. As a result, the double release comprised songs from the Gabriel era as well as the new stuff with Collins as singer. Tellingly, it contained only one song that had been released as a single - I Know What I Like, and yet it represents my favourite era of Genesis, with even complex, meandering, multi-part songs like Supper’s Ready found new life by Collins’ stagecraft. Their next release, ...And Then There Were Three, which followed guitarist Steve Hackett’s departure, included the single Follow You, Follow Me, which was the first Genesis track I ever heard on the radio. It’s a simple love song, set to a slowed down samba-like rhythm, and it reached No.4 in the charts. It’s popularity, especially in America, changed the band’s fortunes. The concert demographic started to change: whereas ’70s gigs were mostly attended by earnest young men with long hair, beards and army-surplus greatcoats, making notes on the songs they heard for discussion later over a half of mild, all of sudden there were women at Genesis concerts. 

The Duke album followed, and two more radio hits - Turn It On Again and Misunderstanding, competing with contemporary rock acts like Rainbow or Toto for FM radio airplay in the US. It marked a deliberate shift away from the fantasy stories to more immediacy in their songwriting. Collins inevitably took the blame, but Rutherford and Banks were still the main songwriters. Collins had always been the class clown to puncture the band’s public school loftiness, but he was gradually able to bring more of his own personality into the music. Good Lord, they even recorded a track featuring the Earth Wind & Fire horn section!

Which brings me back to the O2. Sadly, Collins has lost some of his vocal spectrum. It happens with age, but here, there were notable moments where his range was kept low, while - for the first time in Genesis history - two dedicated backing singers filled in some of the gaps in which Collins was struggling. But rather than feeling in any way let down, the band collectively played on. Collins himself, in the concert programme, admitted to his deficiencies. It wasn’t anything the crowd was going to complain about, either. This was an audience who had come to pay their respects to a band that had been a part of their lives for a very long time. They were rapturous when Genesis dipped into their deepest history, with the aforementioned I Know What I Like and the epic instrumental part of Firth Of Fifth from 1973 and even an excerpt from a 1970 track, Stagnation. 

Picture: Instagram/Genesis-band

Midway through the set, Rutherford, Banks, long-standing touring guitarist Daryl Stuermer and Collins’ uncannily talented 20-year-old son Nic on drums, repositioned around the seated singer to perform somewhat ‘unplugged’ versions of Follow You, Follow Me, That’s All and - to my delight - The Lamb Lies Down On Broadway. This was the title track of an album that, bizarrely, pre-dated punk, being a concept work built around the fantasy disappearance of a Puerto Rican street tough, Rael, into an imagined New York underworld (lyrically, it was Gabriel’s swansong). Here, though, stripped-down, it worked incredibly, suiting Collins Snr’s vocal limitations but sounding like it was always meant to be stripped back.

There were further treats from the past to close the show: after the almost obligatory performance of I Can’t Dance (which epitomised the band’s MTV dominance with its ZZ Top-aping video) - representing the band’s late-stage pre-eminence, there was an excerpt of Dancing With The Moonlit Knight, the opening track of 1973’s satirical Selling England By The Pound album, with its pastorality and references to “Green Shield Stamps”. In 41 years of seeing Genesis live, I’d never heard this track - an obscure entry in their canon at best - performed live. It was delightful. After the stomping pop, an example of the lyrical and musical individuality that, arguably, only this band could have ever produced, steeped in English tradition. 

For those who shunned the knowing commerciality that became Genesis’s hallmark, Moonlit Knight provided a reminder of how this band came into the world, around the time that The Beatles were inventing prog with the narrative concept of Sgt. Pepper’s Lonely Hearts Club Band, onto which David Bowie combined pop, rock and other artistic styles. Those early albums, Trespass, Nursery Cryme and Foxtrot may only have scratched the surface in places like Belgium and Italy, where the Gabriel-led Genesis enjoyed fanatical following, and now are politely “of their time”, but they contain many gems (even an early taste of Collins’ vocal beauty, the love song More Fool Me, along with Hackett’s truly innovative guitar virtuosity). There was, then, one more jewel from that first phase on Friday night: The Carpet Crawlers, one of the few real highlights from the sprawling Lamb Lies Down On Broadway record, its low-key vocal recreated perfectly by Collins, its musical subtleties providing a tender moment to end on.

With that, it was over. Literally (save for one final show the following night). As the full stage band dwindled to just Banks, Collins and Rutherford, who took a poignant final bow, it was time to reflect. All good things come to an end, and with rock bands you tend to want them to stop when they can and while they can. Banks and Rutherford could, probably continue (as they did in 1996 when Collins first decided to put his solo career first, and they brought in Stiltskin’s Ray Wilson in for one album and an ill-advised tour). But it seems unlikely. I would, sadly, even say it was unwise. Collins’ original departure was meant to give the other two an opportunity to prove that they are more than the sum of parts, but that denies the point that much of Genesis’s appeal for the greater part of their existence has been the knowledge that, since 1978, these three men were the band’s beating heart. Gabriel’s six albums defined the band in one way, while the eight with Collins brought with them hit singles. But it would be wrong to divide the band solely by their lead singers. The thread running through all 15 studio records is a style of songwriting that can be compared to no one else, not even the other stalwarts of the prog era, like King Crimson, Supertramp, 10cc, Yes or Pink Floyd. 

Of course, Genesis have never been to everyone’s taste, but for anyone prone to dismissing them for whatever prejudice or perceived prejudice they hold, they have always maintained a tradition of songwriting and song delivery established by A Day In The Life, Is There Life On Mars? or even Good Vibrations. Drama, narrative and, if you can excuse the record label pun, a unique charisma.If you had gone to see them on Friday night having never heard of The Return Of The Giant Hogweed, Squonk or Cinema Show, you would have heard a band of consummate musicians and songwriters, who for the better part of 54 years have made every note, every drumbeat, every chord, every riff and every vocal line count. 

At the start of this post I wrote about Genesis being a guilty pleasure. The trouble with that statement is that it places them in a similar category to, say, a Jason Donovan or a Rick Astley. But, then, to partition based on personal taste is to commit a facet of musical partition that I get very weary of. Taste might divide people, but talent shouldn’t. Genesis may have never been the most fashionable band, but the notion that fashion alone is the only diktat of popularity cuts no ice with me. Guilty pleasure, they may be, Marmite, even, but this band has been an unashamed part of my soundtrack since I was 11 or 12. My first forays with a guitar were to learn the solos and arpeggios of the early work, the infectious riffs of their later efforts. And in unsettling, troubling times like these, comfort is most welcome. On Friday night, in an O2 Arena still missing vast panels from its storm-wrecked roof, I found comfort, for the last time from a band that has been a part of my life for four-fifths of it. 

Marmite, they may be, but you know, I’m quite partial to it.

Picture: Instagram/Genesis-band

Putting the existential threat facing Chelsea into perspective

© Simon Poulter

When it was looking likely that Russia would invade Ukraine, and discussion began as to how the world would react, we Chelsea fans started shifting uneasily in our seats. Elephants can remain disproportionately hidden in a room: for 19 years we’ve enjoyed unprecedented success with our club owned by Roman Abramovich, into which he has poured his personal millions. We just didn’t question how those millions had been arrived at. Ignorance is bliss, and geo-politics is rarely a topic of debate on the terraces. 

Under the Russian’s ownership, open-top bus parades down the King’s Road have become regularity. “We’ve won it all!” we cockily bate our rivals. And we have: 21 trophies in all, including, most recently, the European Cup (for a second time) and the World Club Cup, plus five FA Cups and five Premier League titles in the Abramovich era. It was never always thus: when Chelsea went to Wembley in 1990 for the somewhat Mickey Mouse ‘Zenith Data Systems Cup’ it was the first time in my conscious lifetime that the club had competed for even a minor honour, let alone one of the big ones. Even 1994’s 4-0 FA Cup Final humiliation by Manchester United felt like Chelsea was finally moving into a higher echelon. Three years later we actually won it, but even then we couldn’t have imagined where, since Abramovich’s arrival in 2003, we would have gone next. 

When the away end at Stamford Bridge trolls us with choruses of “Where were you when you were shit?” I always mutter “right here”. I know exactly where I was: standing in the Shed, watching no more than 7,000 loyal, if deluded fans each match watching the Blues struggle in the old Second Division. So when Jesper Grønkjær scored his spectacular volleyed goal against Liverpool on the final day of the 2003-2004 season, securing fourth spot in the Premier League and a place in Europe, the club’s fortunes changed forever. Abramovich, who had apparently been choosing which out of Chelsea and Liverpool he would buy, acquired the club in blue. Success, not survival, became the currency at Stamford Bridge. Relentless silverware, and when there was no silverware, managerial change to fix the deficit.

In the early days of Abramovich’s ownership you could buy Cossack-style hats with the club badge on them - novelties that I doubt purchasers gave any thought to the cultural appropriation involved. It was just a good gag, the kind of irony football fans are renown. ‘Roman’s a Russian, ergo...’. I’m surprised there wasn’t a commensurate uptick of Lada ownership amongst the fanbase. As season followed season, and success followed success, we celebrated - quietly, it must be said - the oligarch whose personal largesse was making it all possible. We sang the name of the shy, seemingly reticent proprietor who’d bought our glamorous but serially under-achieving football club, turning football itself on its head in the process. And now it is the club itself that has been turned on its head. 

As Putin’s army rolled into Ukraine on 24 February there wouldn’t have been a single Chelsea fan - with their priorities and world perspective skewed as always - who didn’t sense that something existential might result. As the last two weeks of Russia’s increasingly genocidal “special military operation” has ensued, football - as it did during the height of the pandemic - has taken a deserved second place. How could anything matter more than the millions of fellow human beings being bombed, shot and displaced, whose lives and livelihoods have been destroyed forever? 

Even when Abramovich announced, out of the blue, on the eve of the Carabao Cup final between Chelsea and Liverpool, that he was placing control of the club into a trust, many speculated about the timing. It wasn’t lost on anyone that as the world looked to punish Putin, Abramovich would surely come within the scope of sanctions against the Russian oligarchy, looking for any opportunity to tighten the economic grip on Putin. Boris Johnson even let slip, in error, that Abramovich had already been sanctioned. MPs like Chris Bryant kept up the pressure; newspapers started to dig into the money trail that led Abramovich to owning Chelsea, linking him to the Kremlin through suggestions of influence and the toxic relationship that Russia’s oligarchs have with the country’s autocratic, expansionist and possibly deranged president.

Yesterday that pressure came to a head, with Abramovich sanctioned along with six others. With his assets frozen, it means the sale of Chelsea - which was looking like a fire sale when it was abruptly announced on 2 March -  is now on hold. Effectively, the club is now in government hands. For political reasons it holds the keys to the club’s future - and its survival. It is, apparently, open to a sale if a buyer comes along,  but with Abramovich apparently wanting £3 billion, an actual buyer might not be forthcoming. And then even if one is found, the government will need assurances that no proceeds will go to Abramovich. Meanwhile, commercial operations have been suspended, the club shop closed, and prospective player sales and acquisitions have been halted for the foreseeable future. 

Home Premier League games will now only be attended by season ticket holders, no new tickets will be sold for fixtures including cup ties, and while the club will continue to pay the wages of its staff (including players), the outlook, for a club in existence since 1905, seems uncertain. 

In the short term, play will continue. I’ll be at the Bridge on Sunday for Chelsea-v-Newcastle, which will surely be an emotionally charged game. “As long as we have enough shirts and a bus to drive to the games, we’ll be there and will compete hard,” head coach Thomas Tuchel said after last night’s fixture at Norwich. As he has been called upon to do in recent weeks, in the absence of anyone else from the club making themselves available to the media, Tuchel added: “Of course the [sanctions] subject is there, the talks are going on, so there is a certain distraction. The level of impact it has - the news of today is big - in time we don't know how big. We cannot influence it.” His Chelsea Women counterpart Emma Hayes, whose side was also playing last night, took a similarly stoic view, adding some necessary perspective: “I can’t get too wrapped up in it when there’s a war going on in Ukraine. We are Chelsea and we will prevail. There will be solutions, we just need to be patient.”

As ever, a source of rationality in all matters Chelsea has been Pat Nevin, the club’s cultured former winger who was yesterday speaking on a BBC podcast: “It is quite shocking for any Chelsea fan out there, all around the world. We are in uncharted water,” he said, adding that the future of Chelsea Football Club was serious. Of course, put into perspective, with maternity hospitals being obliterated and Mariupol being starved of water, food and electricity, “The only place to be/Every other Saturday” pales deeply into insignificance. But that doesn’t ease the discomfort we ordinary fans have with why Abramovich is being sanctioned now. It’s not like his association with Vladimir Putin is new.

The threat now facing Chelsea is without doubt existential. If - as is now possible - the club collapses, the big-name players will simply ply their trade elsewhere, continuing to draw the same mad wages from another benefactor. Those players already know it and won’t be worried. They younger players, the academy group and those less fancied by Thomas Tuchel (and, it should be said, Hayes) might have more to be concerned about. And, of course, the club’s employees - the physios, caterers, bar workers, matchday hospitality workers, grounds staff, medical, administrative, security, the list goes on - face the bleakest future of all.

“You are in different circumstances now,” Nevin told the BBC. “I can't say ‘everything will be OK’. There is a valuable asset there, long term [in Chelsea FC]. It would be stupid for the government to drive it into administration or liquidation. That doesn’t make any sense.” Nevin thinks the club will survive, but in what form he couldn’t say. “You can have a full recovery. Say if you sell it to another businessman or conglomerate, that’s fine. If they get lucky they could co on very well.”  The question, Nevin says, is who the club gets sold to, assuming the Government allows it. “[Abramovich] shouldn’t sell it to the biggest offer but the best offer, to the right people,” adding “The temptation will be to sell it to the biggest bidder if it is government owned within these sanctions. As a Chelsea fan you want it sold to someone you can trust to take it forward.”

There is a mix of emotion amongst Chelsea fans. Anger, sadness, bafflement, confusion, fear. For some, it’s the end of the world, while others have been more sanguine, concluding that the last 19 years, with its 21 trophies, has been a great run and nothing lasts forever. But to take that disposable view belies a club that we have supported through thick and thin. I’ve been a regular attendee at Stamford Bridge for over 40 years, and a season ticket holder for more than 20. I’ve not spent several thousand pounds in that time for a seat (not to mention all the TV subscriptions and merchandise) to just see it all disappear for the sake of political expediency.

Here, though, is where I can’t deny I’m not conflicted. The source of Abramovich’s money has been an inconvenient truth every single one of us who supports Chelsea has chosen to ignore, going right back to 2003. Did we ask what made him an oligarch in the first place? No, we just continued to froth with excitement with every new player acquisition, even in the inflationary environment that Abramovich’s ownership has led to. £98 million for Romalu Lukaku? Yeah, we’ll have some of that! A nailed-on centre forward in the ranks again, banging them in week after week! Not once would we have given a second thought to the fact that Abramovich allegedly controls Evraz, a company providing the steel for Russian tanks. 

But what is frustrating is the amount of faux indignation now streaming out of Fleet Street. The sanctions imposed yesterday have prompted a flood of “Why-oh-why?” pieces today, belatedly drawing attention to the moral ambiguities of Abramovich having been allowed to own and fund Chelsea for the last 19 years. I suppose, much like this blog post, something has to be written about the story, but it is ludicrous that sports writers who’ve freely gorged on the gifts that Chelsea have kept on giving - player acquisitions, managers being hired and fired, the ‘Chelsea-buying-titles’ memes - are now criticising the Russian’s ownership from the very beginning. One or two more dogged journalists have, to be fair, called out Abramovich’s associations (as they have done with the controversial Saudi-funded takeover at Newcastle), but for the most part, the media has simply gone with the Abramovich story. And what about the football authorities who seek to over-regulate the sport? As we know, from FIFA on down to local league associations, there’s little moral steerage at the game’s administration level. Money talks and that’s alright. If it’s OK to stage a World Cup in a country like Qatar, it’s clearly OK for a Russian oligarch with, apparently close ties to a dictator now trying to eradicate an entire nation of 44 million people to own a football club loved by Londoners for 117 years. 

Last week, The Times’ Matt Dickinson wrote that Abramovich’s arrival in English football got us hooked on money in the game, and that it had become a drug. Football has always been something of an opiate for the masses, but in the Abramovich era, it has changed out of all recognition, especially in the UK. Generations ago there were always remarks about the ‘Chairman’s Roller’ but then football owners were invariably local industrialists, self-made proprietors who pumped their relatively meagre fortunes, by today’s standards, into the town’s club as a community gesture. 

Football, irrespective of Roman Abramovich, has become a multi-billion pound/dollar/euro industry. Money from whatever source - Russian oil, Middle Eastern oil, name your lucrative commodity - has transformed the game in just about every dimension. It’s wishful thinking to expect football to return to the muddy pitches and players indulging in Saturday morning fry-ups that was the custom when I first started going to Chelsea at the end of the 1970s. 

As for what happens now, I genuinely don’t know what to expect, or what I want to happen now. I obviously don’t want my club to collapse - I hold a season ticket at Stamford Bridge because I derive enormous pleasure and entertainment out of going there, for good or for bad, for the pantomime traditions of fan banter, for the outrage at refereeing decisions and bafflement at substitutions. But if the worst was to happen, life would move on in a way it cannot for the 2.5 million Ukrainians who have streamed out of their homeland in the last two weeks, their homes bombed, their livelihoods destroyed. There really can be no equivalence.

Albums ahoy!

What ghastly times. “Dystopian” doesn't even cover it. Existential anxieties notwithstanding, I've been burying myself in new music. That might sound trite, but it's my release, my escape chamber in normal times, let alone when there’s a genocidal maniac bombing an otherwise peace-loving democracy into the Middle Ages. I know it seems wrong, with that context, to divert your attention to entertainment, but given the topic that dominates every conversation, every minute of television airtime, every Tweet, some relief has to be found.

First up, then, has been a diversion of unbridled guitar rock. That will be the Soho Dukes, a combo formed in the Surrey/Sussex borderlands and whose debut album, Bar Fights & Tuppenny Uprights, was recorded in Woking, the commuter-belt town best known for raising Paul Weller, the Pizza Express used in a dubious alibi, and where HG Wells’ Martians  landed first in War Of The Worlds before tearing up the place, a chilling foreshadow of events taking place right now in eastern Europe. 

From the outset, the Dukes’ don’t set out to be overly sophisticated, and that’s what works so entertainingly well. Having seen them live, in a small suburban pub where the enjoyably raucous boogie goes down well with a pint, their debut album takes the brakes off. There’s a sumptuous production to it, one that belies its suburban foundations. In fact, it’s a sound that would - I’m genuinely convinced - find a natural home on American rock radio and in truckstop jukeboxes. None more so than opening track Angel Walk, with its superbly polished sax break, and 5,000 Channels, Weekend Millionaire and Murdertown, with the kind of slick shifts of rhythm and lead guitar that wouldn’t be out of place in the canon of any classic rock outfit from the last 50 years. 

There is the odd misstep, such as the comically theatrical Bovver Boys, on which lead singer Johnny Barracuda strays into punkish cod-Cockney, but as Bar Fights & Tuppenny Uprights progresses, the ears warm to a superbly sophisticated sequence of grown-up guitar rock. For an act that, on paper is - and I hope they won’t mind me saying this - ostensibly a bar band, their recorded debut not only projects polished competence but also the sheer joy of playing this kind of music. Name your band - AC/DC, Pearl Jam, Van Halen, the Chilli Peppers, even Guns N’ Roses (Barracuda does bear an uncanny vocal similarity to Axl Rose...) - and you get some sense of where the Dukes are pitched musically, but moreover, it’s the degree of professional production and arrangement that makes the album work so well. The Dukes are not new - they’ve been gigging around southern London since the ’90s, honing their stage craft - but in the process, they’ve fine-tuned their songwriting, too, and the net effect of this album underlines it. COVID may have prolonged its production, but it’s been wholeheartedly worth the extra time and effort.

The Soho Dukes play London’s legendary Troubadour on Saturday 7 May - details at SohoDukes.com

Seven years in the making and an incredible 18 years after their last outing, which saw a tentative reunion (or was it reconciliation?) between Roland Orzabal and Curt Smith, Tears For Fears have returned with an album that provides the soothing tincture these ears needed as the world winces at the actual shooting war taking place in Europe. And, as an album title, The Tipping Point couldn't have any greater irony, given that the album was released the day after Putin’s tanks rolled into Ukraine. But in spite of that unfortunate timing, the record itself is a consummate pleasurefest, especially for those of my vintage. 

TFF were part of my teenage soundtrack, from the synthpop gloom of Pale Shelter and Mad World to the hits-a-go-go of the Songs From The Big Chair era. What I hadn't always appreciated, until I spoke to Steven Wilson about his surround sound remixes of that blockbuster album and its follow-up, The Seeds Of Love, was just how much Orzabal and Smith had a shared DNA with the progressive rock giants I grew up listening to. It’s what has always made their songwriting multi-layered: considered - epic even, in places (think of a song as topographically expansive as Woman In Chains, for example). 

Like the Soho Dukes’ effort in my previous review, protracted time may have helped Orzabal and Smith create a better product, one of assured songwriting, luscious studio work and perfectly balanced arrangements. That doesn’t mean an overly-slick throwback to the ’80s, but an album of exemplary songcraft. There’s a reflective maturity to it, too - not just the inevitable passing of time, but also Orzabal’s own widowerhood as he came to terms with the tragic 2017 death of his wife Caroline. There are other themes: “We felt the world was very much at a tipping point,” Smith recently told the BBC. “The rise of the right wing, Trump being elected, the Black Lives Matter movement, the pandemic, the climate crisis…”. Inevitably, though, the primary source of the album is Orzabal and Smith finding their own relationship again. 

Opening with the understated, Americana-tinged No Small Thing, the nine tracks that follow span the textural range of Tears For Fears records past (with lyrics informed by Orzabal’s mental struggles in mourning). This isn’t, though, a mournful album in sprit - even if the title track’s words are dark, direct references to death, the song’s bouncing rhythm drawing comparison to the similar uplift of Everybody Wants To Rule The World. “The ‘tipping point’ in the title track is a little bit more private and a bit morbid,” Orzabal revealed to the BBC. “The narrator is in a hospital ward looking at someone they've loved for a long time, knowing that they're going to die, watching their breath, looking at them and just wondering at what point are they going to pass from life into death.” Please Be Happy is equally as direct, addressing the alcohol abuse that tragically led to Caroline’s descent into premature dementia, while My Demons - with its semi-intentional Depeche Mode hooks - addresses surveillance society, though it, too could be a bleak appraisal of watching someone succumb to weakness. Gloomy as the lyrical premise of these songs might sound, the actual music itself paints a brighter background, one that ensures the album, from start to finish, is more than just comfort food, but one that warrants repeated listening to unlock the myriad layers encased within. 

The pre-publicity for Johnny Marr’s fourth de facto solo album goes back so far, it seems like I’ve had the release of Fever Dreams Pts 1-4 in my calendar for months. In fact, the Mancunian jangler has been  drip-feeding extracts from this ambitious double album since late last year, not that anyone’s appetites needed whetting. 

His previous solo release, Call The Comet was a triumphant exercise in guitar-based, electronic-enhanced indie rock by one of the masters of the art. Even now, I’ll never claim to be a massive fan of The Smiths, but the bits I did like were the result of Marr’s singular guitar playing. It’s a reputation that has quite rightly rendered him the last true British guitar hero. He might not share the blues-rock heritage of veteran axe-swingers like Clapton, Beck, Page and Gilmour, but Marr has what every teenage guitarist yearns for (and never achieves) - a signature sound. That has populated some of my favourite records of the last 40 years, namely The The’s Mind Bomb and Dusk, the 7 Worlds Collide supergroup project, and Electronic’s debut, not to mention a vast catalogue of guest appearances on everything from albums by Roxy Music and Tom Jones to Hans Zimmer’s No Time To Die soundtrack.

Marr is a musician’s musician, and despite the stratospheric adulation he commands - justifiably - lets the music do the talking. Thus, Fever Dreams Pts 1-4 represents a whopping hour-and-ten-minutes of mind-blowing electro-rock, cantering between guitar-stomping fare like Night And Day and the epic closer Human, and a more industrial wall of sound, such as The Speed Of Love. There is groove on Tenement Time and the relative bright pop of Counter Clock World. But it is to the most ‘Marr-esque’ songs, like Sensory Street and The Whirl, that bring the energy out of the Mancunian’s spirit most strongly. With such an expansive CV covering four decades, it seems weird to think of Marr as just hitting his stride with his solo career, but Fever Dreams Pts 1-4 is an epic product in every sense, and utterly enjoyable for it.