Live
MASSIVE ATTACK, 02Academy Brixton 17/09/09
Bristol took Brixton by storm this in the form of the Massive Attack boys. In what must be a first by any band or musical collective as they should probably be referred to, they surpassed even their own reputation for experimentation by showcasing no less 8 new tracks.
Although the new material accompanied by special guest vocalists was generally well received, it still evidently tested the patience of some in the spacious Brixton Balcony as calls were shouted “Play us something we know!”
Most of the new numbers were concentrated in the first half of the show which commenced with 'Hartcliffe Star' followed by 'Babel' whose instrumental at times resembled a mad sounding computer.
It has reported that Massive Attack are taking exceptionally long to produce their album and that it is still subject to delays. However there is a strong possibility that many of the new tracks in the Brixton show will be included in this new album, though it is by no means certain which ones. As for the minority of malcontents, their wish for something familiar was sated half way through the show with the arrival of 'Future Proof' followed on the heels by 'Teardrop' sung by one of a number of guest artists, in this case Martina Topley-Bird.
Topley-Bird sounded quite ethereal on this and her next song 'Psyche'. Among other guest artists that impressed was an immensely chilled out looking Horace Andy, who shuffled slowly onto stage to sing '16 Seeter' in a kind of strange vibrato while accompanied by a slice of ghostly, sinister sounding electronica. Massive Attack regular 3D appeared to indulge in a bit of air conducting frequently during the instrumental parts of his set. Without any shadow of doubt, though, the vocal performance of the night was reserved for Deborah Miller, whose combination of controlled power and deep emotional soul together with the symphonic effects of the collective on 'Safe From Harm' and 'Unfinished Sympathy' blew the house away. Another high point was 'Angel' to which many of the tapped or nodded gently.
The special effects also greatly added to the show. A rectangular screen across the length of the wide Brixton stage consisting of long thin lighting bars provided all manner of unique features. The screen could show one elongated image or chop them up into 3. At one time it had a series of binary codes going at speed from right to left. At another point shafts of light aimed in all different directions, pointing up , down sideways and going out as far as the balcony on a kind of slow rolling cylinder bar were to be seen while Topley-Bird sang 'Teardrops'.
For those observant enough in the crowd, some of the effects could have been considered quite controversial. At one point one panel of the screen, showed like an airport departure board with destinations that happened to correspond destination used in “so-called” rendition flights. In the encore there were marching green laser shards to the steady rhythm of new EP title track 'Splitting the Atom' during which Damon Albarn put in an expected appearance on stage. But, probably, the most impressive and effect of all, was when the board spelt out in big dot matrix form, the headline of that particular then juxtaposed that again more sinister creeping headlines that implied the increased loss of civil liberties .
'Marakesh' was nothing short of brilliant as well unsettling with its booming grungy and occasionally disjointed industrial sound. 3D and Daddy G wound up the set with 'Karmacoma'. Whereas most bands finish at Brixton Academy, Massive Attack opened with what was the first night of their world tour at the venue. They, themselves admitted they could not have pick they a more challenging venue. Still, it proved to be an absorbing and fascinating show.
Words DARREN LEWIS
