The last time EELS performed in Europe was in support of their pretty much faultless 'Meet The Eels' best of collection. Following the emotional purging double whammy of the 'Blinking Lights' album and the publication of songwriter Mark Oliver Everett’s harrowingly candid memoirs, it seemed a perfect time to take stock and relish in what he had achieved with his band.
Touring up market concert halls across the continent, it felt like a prestigious event. The opening act was the showcase of BBC 4’s stunning documentary concerning the relationship between Everett and his physicist father who invented the parallel universe theory but died tragically young. There were readings from his autobiography and beautifully stripped down renditions of the more revealing moments from the Eels catalogue. Although the whole thing was carried out with a goofy humour, there was a definite feeling that finally Everett was comfortable in his own skin.
After a pause of nearly three years there was a worry that Everett had maybe revealed too much and lost his creative fire. Just as Oscar Wilde believed a work of art stemmed from a “unique result of a unique temperament”, Everett’s head on confrontation with his past demons appeared to sap some of his creativity. Despite the release of a trio of new albums in the space of 9 months (the final instalment being released three days before this show), there were few moments that could compete with his usual high standards.
However, after seeing the new Eels line-up perform, it seems this is another stage of the development of an incredibly unique artist. While before Everett adapted the tragedy of his life to fuel his more tender moments, here he utilises his rage and hunger for some incredibly dirty rock and roll.
Armed with a total of three guitarists, the five piece band all wear sunglasses, headgear and impressive facial hair. Everett obviously means business in a white boiler suit. After a deceptively tender interpretation of Daisies Of The Galaxy, the band launch into an amazingly uncompromising set that rarely relents. Everett revels in his new role of the aloof rock star, blasting through his compositions with such confidence and belief it’s impossible not to get swept along. As if to emphasise his new allegiance to rock the set is littered with Rolling Stones and Lovin’ Spoonfull songs. He plays Mr E’s Beautiful Blues, one of his few hits, as a mutated Twist and Shout cover, and reinterprets the rest of his songs with a bite and aggression that his recorded work only hints at. On the few moments he displays his gentle side with restrained versions of The Look You Give That Guy and Spectacular Girl, the sudden change of mood is so powerful the whole set gains an authenticity that pushes it beyond being merely a fun night out.
|
Everett’s fizzy delight at reinventing himself gains a physical presence when he uses the coda of George Gershwin’s Summertime to throw ice creams into the front rows of the crowd. It’s a genuine heart bursting moment. While his previous tour felt like a definite full stop ending the first part of Eels’ history, here you feel Everett has opened the door on a new aspect of his persona. It’s yet another victory for his ‘never give up’ mentality.
|
