Hull University’s Asylum has reinvented itself for one night only; taking on the true meaning of its moniker, Radio 1’s In New Music We Trust Tour has pulled up and rock ‘n’ roll is being unloaded to the lost souls seeking refuge from the monotony of modern day life.
Zane Lowe bounces through the venue like a west coast crotch-holding rapper, grizzly faced and fuzzy eyed; his jaw as slack as his pants he introduces the vivacious Kaiser Chiefs onto the stage. The Leeds based five piece are truly fronted by Ricky Wilson, a cocksure and enigmatic modern day pin up of art rock. Clad in obscurity, he leapt around the stage like a salmon out of water gasping for air and influences from Madness to the Sex Pistols, Blur to XTC, Jam to The Clash. ‘I Predict a Riot’ reverts back to the classic song writing style of Rotten/Strummer-esque ability to depict the archetype working class British life. The accompanying set, with stand out track ‘Oh My God’, is a sleazy insight into their soon to be successful career in an innovative Gang of Four manner.
The psychedelic era of the 90s has been, and in a rush of coke and MDMA, sadly gone. Kasabian, however, live strong and defiant. With manifestos in hand, it has taken this band less than a year to move from command and conquers of the underground to chart guerrillas. With Serge Pizzorno and Tom Meighan set to be the new poster boys of rock mayhem, these baggy revolutionaries have wide eye plans and blueprints to abuse their popularity.
Kicking off the set with the pure psychedelic bliss that is ‘I.D.’, the gig flows with a flicker of strobe lighting. Serge sings with grace in an angelic yet unsettling manner. It has the ability to haunt the weak-minded and those darkest dreams, whereas Tom swaggers across the stage, taking a more aggressive trip-hop stance as he spits angst-ridden lyrics into the mic. A true symbol of rock imagery he looks as if he has injected the attitude and arrogance back into British music that has been sorely missed since the demise of the likes of Liam Gallagher. Sucking you in with every word, his beckoning/crucified posture at the front of the stage reveals a fight to the death stance against modern day democracy.
With ‘Test Transmission’ being dedicated to the late great John Peel, followed by the previously unheard ‘Fifty Five’ (a scuzzy punked up track leaving you feeling as if a double barrelled shot gun had been unloaded into your chest) left the crowd a swaying, debauched mess with revolution in mind. ‘Reason is Treason’, ‘L.S.F’ and ‘Club Foot’ helped embrace the unity of a lost generation and small-scale world domination, as I stood thinking, “has music finally gone too far?”
The power of their music and the intoxicating scene of fist in the air togetherness was truly something to behold. Like a child trundling along to the surreptitious sounds of the Pied Piper, you did feel brainwashed and sucked in as an acolyte to a militia group but it just felt so right. Like the music scenes of our forefathers, you felt that they were upholding our rights and beliefs in the words they spoke at a time when we have no say in the world that we live. They are the soundtrack to all tomorrow’s parties. In new music we trust. God save Kasabian.