Gig: Graham Coxon @ The Lexington, London
- May 21, 2009
Solo projects for guitarists in big, brilliant, successful bands can often be a formula for the overblown extravagances that are honed back on their day jobs. For Graham Coxon, it is quite the opposite.
The Blur member now has seven solo efforts to his name, the latest of which â“ The Spinning Top â“ he showcased in the cosy confines of The Lexington. It is a mainly acoustic, whimsical offering, a tone that dominates and dictates the set.
From the ponderous opening strums of Look Into The Night, it is clear this isn't an evening for showing off. Coxon sits awkwardly, adjusting his trademark glasses, and is joined by a double bassist and drummer. The mood onstage is gentle and calm, playfulness overriding any intensity.
The musicianship is supreme throughout, especially on the twee strum of In The Morning and the nursery rhyme melodiousness of Perfect Love. However, This House is pedestrian and it is a relief when Coxon finally dusts off the electric guitar and jerks into the exquisite Dead Bees.
He soon follows this thundering effort with Sorrow's Army, as the double bass is played with a bow to create an intriguing sound that provides scope for Coxon to display his six-string mastery. The new songs keep coming thick and fast though â“ in fact he plays nothing else for the whole of the main set.
This leaves many gig-goers hoping in vain for a cut from other acclaimed albums such as Happiness in Magazines and Love Travels at Illegal Speeds. Much mirth and distraction is evident in the crowd due to this, with one heckler cheekily requesting "Play us a new one Graham". However, Coxon is equal to it with a smile, querying "how we doing now? Worse?" after Home. His humour and warmth keep things affable as he lauds his Salvation Army shirt.
When arriving back onstage for an encore, a rendition of November is rather dribbly and directionless, but a cover of Babe, It Ain't No Lie is a fitting ending. The pristine performance of a song made famous by the late Davey Graham, evidently a huge influence upon The Spinning Top, it is cajoled along by doting bassline and played with tenderness and care.
The new tracks lack the crashing fun and fury of the past and are more thoughtful and elegant in their composition in general. While this is certain to gain Coxon more admirers in bedrooms and headphones across the world, it doesn't translate so well onstage as of yet â“ at least when taken as an entire set rather than a portion of his more mixed repertoire. Coxon is impressive tonight rather than exciting; the man himself is probably quite content to be so.
The Blur member now has seven solo efforts to his name, the latest of which â“ The Spinning Top â“ he showcased in the cosy confines of The Lexington. It is a mainly acoustic, whimsical offering, a tone that dominates and dictates the set.
From the ponderous opening strums of Look Into The Night, it is clear this isn't an evening for showing off. Coxon sits awkwardly, adjusting his trademark glasses, and is joined by a double bassist and drummer. The mood onstage is gentle and calm, playfulness overriding any intensity.
The musicianship is supreme throughout, especially on the twee strum of In The Morning and the nursery rhyme melodiousness of Perfect Love. However, This House is pedestrian and it is a relief when Coxon finally dusts off the electric guitar and jerks into the exquisite Dead Bees.
He soon follows this thundering effort with Sorrow's Army, as the double bass is played with a bow to create an intriguing sound that provides scope for Coxon to display his six-string mastery. The new songs keep coming thick and fast though â“ in fact he plays nothing else for the whole of the main set.
This leaves many gig-goers hoping in vain for a cut from other acclaimed albums such as Happiness in Magazines and Love Travels at Illegal Speeds. Much mirth and distraction is evident in the crowd due to this, with one heckler cheekily requesting "Play us a new one Graham". However, Coxon is equal to it with a smile, querying "how we doing now? Worse?" after Home. His humour and warmth keep things affable as he lauds his Salvation Army shirt.
When arriving back onstage for an encore, a rendition of November is rather dribbly and directionless, but a cover of Babe, It Ain't No Lie is a fitting ending. The pristine performance of a song made famous by the late Davey Graham, evidently a huge influence upon The Spinning Top, it is cajoled along by doting bassline and played with tenderness and care.
The new tracks lack the crashing fun and fury of the past and are more thoughtful and elegant in their composition in general. While this is certain to gain Coxon more admirers in bedrooms and headphones across the world, it doesn't translate so well onstage as of yet â“ at least when taken as an entire set rather than a portion of his more mixed repertoire. Coxon is impressive tonight rather than exciting; the man himself is probably quite content to be so.
