Tropic at Ruislip, Ruislip, 15 April 2012
Willie Talent: the intimate renaissance of an unsung
punk icon with a little help from a very special friend
As
the five-foot something figure of Willie Nile with a large bouffant hair-do
struts on stage wearing a patched leather jacket, there seems to be solid
evidence that either he or you are misplaced citizens of a bygone time. Then
the band launch into a twangy bass number with Celtic overtones and your suspicions
are confirmed: this is the 1970s. As the band pass the first chorus of “Singin’
Bell” and into a pre-chorus explosion of raw punk, the crowd are rejuvenated
from their bobbing anticipation into ecstatic leaps and this timeless
transportation is complete.
It
is the climatic finale show of a mini European tour, for the New York based
band, and all indications of fatigue are left backstage while an impassioned Nile
exhibits his brash showmanship and magnetism that – despite his small stature
and aged face – very few artists can rival. The only obvious modern equivalent,
with this ability to blind-fold an audience from their mundane existences and
yank them through their own narrative, would be Dave Grohl.
Before
the a capella intro of “One Guitar” – a song that Bruce Springsteen played live
with the band earlier this year – Nile delivers a sermon, his creed, which
evidently fuels his incessant need to tour the world. He stresses the
significance of “one guitar, one person” and the influence they can have on the
world. His stories of individualistic empowerment are reminiscent of Bob Dylan,
but the accompanying soundtrack with rolling drums and repeated “na na na”
phrases resonate closer to Green Day. Nile proves that punk can be modern,
relevant, and contain sonic mastery whilst dodging the sell-out status that
Billie Joe Armstrong’s outfit now comes to symbolise.
The
rumbling introduction of “Holy War” is further evidence of Nile’s capability to
be contemporary; this particular song is a political critique of modern
terrorism. The lyrics convey a clichéd response to America’s “war on terror” as
they place blame only with the middle-eastern terrorists rather than looking
inward. However, the biased political reverberations are compensated by Nile’s musical
craftsmanship which salvages a potentially mundane chorus with exhilarating
melodies and juxtaposing refrains.
Just
as the room’s energy climaxes and the middle-aged crowd reach the peak of their
relived teen angst, Nile drops the tone with a few sombre numbers. The poignant
ballad, “On the Road to Calvary” is dedicated to Jeff Buckley, another of
Nile’s past acquaintances. All bar chatter ceases as Nile sighs through the
lamenting lyrics with allusions to Buckley’s tragic drowning in Tennessee: “You
carry me ’cross the mighty river, you lift me up above the raging sea”.
Dedicating a song to a lost legend may sound insincere, but Nile’s tribute is
of real anguish and genuine emotion for a musician that was a profound
influence.
Finally,
Nile cements his cult-status as underground music guru by welcoming Glen
Matlock of the Sex Pistols to the stage. In fitting tribute to the infamous
names are mentioned throughout the evening, and the legend that he shares the
stage with, Nile entices the crowd further forward with “House of a Thousand
Guitars” which catalogues some of the best artists in music history including:
Jimi Hendrix, Muddy Waters, and John Lennon. To leave unimpressed from an
intimate concert compiled of simple and ingenious song-writing, cataclysmic dynamism,
a British icon, and a set from American punk’s unacknowledged messiah, would be
sacrilegious.
Therefore,
I left with one question in mind: how has Willie Nile evaded fame? To
complicate this question, and add further pedigree to his name, Nile has supported the Who on tour. He is also still releasing new
music that is worthy of stadium-tour success. Perhaps the adage “wrong place
wrong time” is applicable to Nile’s failed attempt at superstardom. However,
attempting to attain superstardom is the exact antithesis of what Nile appears
to symbolise. As a track from his new record confirms, Nile does not want to be
“Rich and Broken”. Instead he tours the world with “One Guitar” and one
message, enjoying his infamous rapport with fans without the strains of fame or
incalculable riches, both of which could be his. Nile has experienced the
defects of rock-god status through the death and deconstruction of his
influential friends and decided it isn’t for him. Instead, Willie Nile simply
plays music and lives his dream.
http://www.willienile.com/
In fitting homage to the title, ‘Our House’ was the first Madness
number sung in chorus by Hillingdon Musical Society on Saturday.
After breaking into a construction
site to impress his girlfriend, Joe (Mark Bools) is confronted by a life choice
when the police arrive: run and live a life of dishonesty, or stay to face the punishment.
The audience then witnesses the possible lives of ‘good’ and ‘bad’ Joe,
although, the juxtaposition of these two depictions can be confusing. However,
the actors portraying Joe and his girlfriend, Sarah (Becca Brentnall), both
gave striking performances at the Compass Theatre.
