Ladies and Gentlemen, Elvis lives! He wasn't just in the building, but was playing live on stage on Bank Holiday Monday at the Luminaire in Kilburn, London.
Well, if not Elvis Presley, try ELVIS PERKINS, who was accompanied here by his band of merry moustache'd men, all hailing from across the USA, and between them sporting such American Republican names as Brigham Bough (on bass), Wyndham Boylan-Garnett (on pretty much everything including a sehr wunderbar harmonium) and Nicholas Kinsley (on drums). These guys made up the experience that was 'Elvis Perkins in Dearland'.
Like all genuine troubadours, Elvis appeared on stage alone, looking like the secret twin brother of Sean Lennon, as he began to play solo before being joined by his band of merry men.
Elvis is striking for the Lennon resemblance (and we're talking John here really), both in looks and demeanor, but it’s tempting to take this metaphor a step further and suggest that if he was a secret twin would his biological mother be Bob Dylan? Well who cares about genetics! It’s all in there, in the lonesome gaze of this thinking man’s poet-like presence.
Perkin’s roots are firmly planted in the sixties era, but there’s no mimicry of rock and roll like some current bands. What Perkins and Co. achieve is no less than a miracle, as they encompass the many musical styles present at that time, and profile them into one cohesive sound, as could only happen in another era years later.
And we've all been waiting for this! It seems an appropriate musical nod that the name of the lead singer should echo the original King of rock and roll. And it’s a delight to see a band can fashion a unique sound from the pop and soul of Beatles and Motown, the pure rock of the Animals and The Rolling stones, and the groundbreaking folk strength of Bob Dylan.
All of these direct sounds happened spontaneously around the world (well trans-Atlantic at least), and independently from one another and it’s pretty class to see a band develop a unique sound from all of this.
The strong folk edge is perhaps outlined in Perkin’s Dylan-esque style and presence - occasionally crooned, but often softly spoken voice and harmonica with guitar/band in tow - but is also established in the genuinely unique acoustic instrumental line-up on stage.
And let’s not forget the band. Brigham Bough on bass cuts a fine shape on the stage, partly as his instrument is traditional, with a redesigned shorter lower half - cut off at the mid-riff if you will - and looking pretty fly (for a white guy with a ‘tash). Wyndham creates his own small musical shop working between a Wurlitzer keyboard and 'Wynd' Harmonium, guitar and vocals. At one glorious point, Kinsley (drums) came to the front of the stage to highlight a guero beat that would make Sandie Shaw proud.
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The sound Perkins and Dearland reach is the soundtrack for this generation’s lost loves, all infused by a political social stance.
Take "All the night without love", a song about a 'last night', the kind of ‘last night’ we all inevitably and uninspiringly have at times: " In the dark and lonely corners/ where we place our drive-thru orders". During the performance of this track, Perkins and band reach an almost joyful frustration, emphasized by a harmonica cadenza (on record it's a gypsy twisting Jazz violin) and guitar riff fit for a Django Reinhardt number.
The highlight of the evening however, was the rather aptly named "May Day". Although not officially May Day, this gig took place on Bank Holiday Monday, which, as any reputable hospital will approve, is its closest living relative.
The Kilburn crowd received this song with an almost patriotic zeal more normally reserved for WW2 anthems. There was a working class hero ethos behind all of this and "May Day" had the ability to get your empty glasses raised, your feet stomping and your hands a-clapping as you cheer in drunken delight. This track conjured a kind of community feeling more associated with the on stage antics of the Pogues and the drinking culture that goes with it.
So in a nutshell, Elvis Perkins in Dearland produce the kind of rambling iconic folk that appeases the masses! All hail the new king of alt country rock and roll! Bravo lads!
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