This new film about Oasis’s glory years is rousing, heart-rending and really f**king funny
Kings Of Leon : New York Bowery Ballroom
They've proved themselves royally...
First up, Lincoln bluesters 22-20's are a revelation. Now augmented by a keyboard player (who later joins the Kings for a tune), the sound is taut, edgy and incredibly grown up for such a green and gawky group. Bets are on that
they’ll be headlining their own show here within six months. Jet, meanwhile, fail to justify the hyperbolic verbiage they’ve been given lately. Thumpingly derivative and profoundly unsexy (though disturbingly still eager to show their chests), they only really take off during the balls-to-the-wall AC/DC squall of
‘Take It Or Leave It’. Most of the crowd choose the latter, and repair to the bar.
Kings of Leon, however, are The Real Deal. Jet should be taking notes, for this is how it’s done. Jared (in white shoes, tiiiiiight jeans and a leather jacket)
struts back and forth across the stage getting cocky with his chewing gum, Matthew struggles to see his frets through his fringe, and Caleb is surely the only man alive who can rock a schoolyard retard haircut from 1976 and patchy ‘tache and still be heart-throbbingly handsome.
By the time they’ve knocked out a throbbing, propulsive ‘Holy Roller Novocaine’ and prettily smoky ‘California Waiting’, someone in the back is shouting ‘Genius! GENIUS!’ and a coterie of ladies are boogying up front.
Anyone who came here tonight expecting to see southern-fried retro-rawk throwbacks surely left chastened and amazed, ready to follow the Followills
devotedly. If this was the Kings’ statement of intent to rock their homeland the heartland, they proved themselves royally up for the task.
Delving into the murk and noise of their past, the Boston veterans’ second post-reunion album is a superlative indie rock collection
Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing