February 15, 2007
Following their amazing Grammy success, Wolfmother unfortunately did not follow suit with a Brit Award. The honour of “International Breakthrough Act” went to Orson.
Dissapointing as it is, one out of two isn’t bad – and with no offense to the importance of the Brit Awards, I think the band and most fans would have picked that one of the two.
Let’s hope that with a new album, the band are up for more awards next year.
February 12, 2007
Wolfmother yesterday took a giant step towards being an established, well known and well loved band. They won the Grammy award for Best Hard Rock Performance for Woman, up against Nine Inch Nails, System of a Down, Tool and Buckcherry.
When I announced that they had the nomination, I looked at the other nominees and thought they stood little chance. That’ll teach me to have some faith!
Conrgatulations, boys! Hope you enjoyed your night and got to Amsterdam in time for your next gig!
February 5, 2007
With my ears still ringing, here I sit contemplating the night that has been. It began with an early exit from work to meet the girlfriend at Hammersmith Tube station, to get there for the advertised opening time of 7pm.
The queue to get in was enormous. We stood to one side, wondering why, but eventually joined it. Our suspicions proved correct, in that it was completely pointless … the first act of the night, Wolf & Cub, were to come on at 7:45pm and play until 8:30pm (I should note, it was strange but pleasantly surprising to see the band times up behind the bar when we got there!). So we, along with the rest of the queue, hung around inside for 45 minutes, lingering near the front of the stage.
I hadn’t really heard much of Wolf & Cub previously, but they played an awesome set. Compared to their name-a-like fellow act, Wolf & Cub have a somewhat heavier, rockier sound. With their conditioned, silky long hair (not very rock and roll I have to say), they riffed their way through the set with growing confidence. The set ended with Chris Ross guest starring on his keyboard, playing a song from their new album Vessels (the name of which escapes me).
Half an hour ticks by, when the band everyone has come to see (and there were a LOT of people there, despite a repeat at the same venue the following night) walked on stage to thunderous noise. Having seen Wolfmother play at Brixton last year, I spent some of the night considering the two performances. It seems that four months can mean a lot to a band, because in my opinion the performance at Hammersmith was a significant improvement.
Many of the songs were extended with that jamming style fans will be familiar with, while Andrew strutted around the stage with much more swagger than previously. At one point he ditched the guitar and grabbed the mic, spinning it on its wire around his head. It was only half a minute, but enough for him to look at home on the stage without his comfort-blanket-guitar.
White Unicorn was transformed into an edgy rocking sound with heavy beat from Myles, which made it recognisable but very different to the version we all know from the album and most other live performances.
The encore saw the band play that Led Zep classic, Communication Breakdown. It was interesting to look around and see the kids who had previously been jumping up and down as if on pogo sticks nod their heads in time, while the older generation perked up considerably.
Slightly disappointed they didn’t play Love Attacker, their new song, but at least I got to see Communication Breakdown (which was a vast improvement on their attempt during the Led Zep tribute last year).
So although the setlist was predictable (after all, there isn’t a plethora of songs for them to choose from), it was different enough to the previous show I saw at least to make it worth the ticket price. If anyone saw them some time ago and is wondering whether to again, I’d definitely recommend it.
(I will upload some pics in time, if they come out okay)