November 13, 2000

Japan Osaka Club Quattro

It's a bit more than just an agreeable persona that carries them through tonight...

As a double act, this bill does represent something of a British stereotype from days gone by. There's the Britain where bands of lads in suits play their songs with a smirk and a wink (The Bluetones). Then there's the Britain of Mods (Mover). To be fair, Mover do a decent take on gravelly voiced, Weller-esque pop, and The Bluetones sport their suits for only half the show. This far from London, though, it's all quite exotic.

It's a matter of perspective, really. The Bluetones have built up an array of songs that really should make most pop fans smile broadly and often. From their past, 'Bluetonic' shades 'Carn't Be Trusted' and 'Slight Return' for its nostalgic tone. From their present, 'Mudslide' manages to discuss natural disasters and laundry while sustaining that bright Bluetones' sound.

The set is split evenly into two. Mark Morriss is assassinated as the first act ends (still not forgiven for his dubious comments in reference to British identity, perhaps). It's just a bit of vaudeville though and he's back for act 2 having shed the dishevelled bank-teller look for more casual attire. This time, The Bluetones employ a mandolin, stand-up bass and piano accordion for a folky 'Keep The Home Fires Burning'.

Whether the passage from execution to style transformation was deliberately symbolic or not, it makes for a uniquely paced show. "No more fucking around folks, we intend to rock!" Morriss alleges as the band launches into a noisy and, yes, even rocky 'Zorrro'. In spite of the expletive, The Bluetones' on-stage allure lies in their simple congeniality and their grasp of a gratifying pop method. As the song says, "no challenge should be faced without a little charm and a lot of style". It's a bit more than just an agreeable persona that carries them through tonight, though.
Bryan Scruby

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