WORDS AND IMAGES PAUL EVANS
The grandeur of the Liverpool Olympia sets a perfect scene for the return to the city of tonight’s headliners. The lavish interior with its peeling elegance feels almost too fitting for a band that has a history of blending beauty with a dark, irreverent edge. Steeped in 1960s psychedelia and combining an intoxicating mix of dreamy soundscapes and droning rhythms, the Brian Jonestown Massacre have defied conventions and carved out a unique space in the music world since the early 1990s. Led by the mercurial and prolific Anton Newcombe, the band are a countercultural force, shunning mainstream success in favour of a dedication to artistic freedom. Live performances are legendary for their unpredictability and spontaneity and with the promise of a career-spanning set, tonight promises to be a night to remember.
It’s bitterly cold outside tonight and not much warmer inside the venue that was once a circus and variety theatre. The balcony looms overhead, adding an almost cinematic quality to the scene below. Low-hanging lights illuminate pockets of fans swaying to the stunning 60s sounds of the 13th Floor Elevators, The Incredible String Band and The Ashes. Songs don’t get much better than this. Alongside fans of varying ages and styles, legendary Echo and The Bunnymen guitarist Will Sergeant and Creation Records founder Alan McGee are also here. A testament to the prowess of San Francisco’s finest.
Tonight’s support, Project Gemini evoke a cinematic feel, with a sound reminiscent of cult B-movie soundtracks from the ’60s and ’70s. There’s a real synergy between the London foursome as they produce their nuanced fusion of psychedelia and funk and their latest album, “Colours & Light” is a must listen. The audience gradually becomes more immersed swaying and nodding as their set progresses. It’s difficult to pick one standout in such a great set, but the haunting melodies and intricate arrangements of “Lost in The Woods” probably just makes it.
The stage is lit with just enough light to set mood without distracting from the music and with little ceremony, Anton Newcombe and the band launch straight into “Maybe Make It Right”. The song feels like a gentle invocation, a way of welcoming the audience into the sonic journey. Anton calmly leading the band through the track’s lush, shimmering soundscape before the sprawling, dreamy, hypnotic haze of “Do Rainbows Have Ends?” Anton’s voice, is understated yet compelling, weaving through the layers of guitars and hypnoticrhythms. Fans at the front seem visibly transported, swaying and nodding in time with the music’s unrelenting pulse while the bittersweet beauty of disillusionment and perseverance within “When Jokers Attack” resonates deeply with me tonight.
The flickering textures of “Pish” are warm and infectious as the crowd seem to breathe in unison with the music, arms swaying and heads bobbing in sync. It’s pure sonic escapism, music to lose yourself in, even if only for a few precious minutes and a song that seems to capture the essence of The Brian Jonestown Massacre. Tonight, the band’s chemistry is on full display. Long-time guitarist Ricky Maymi trades riffs effortlessly and the bands interactions seem more relaxed and spontaneous than I’ve seen for a long time.
There’s a certain intimacy to the Olympia despite its size and as the familiar opening riff of “Anemone” rings out the room seems to hold its collective breath. This is the moment many have been waiting for. A chance to lose themselves in one of the band’s most beloved tracks. The gentle ebb and flow of the music almost meditative, drawing everyone into a shared experience of pure, unfiltered emotion and for these few minutes, time seems to stand still. The balance between light and dark is perfectly executed, its bittersweet beauty amplified by the band’s tight performance each note perfectly placed yet imbued with a sense of spontaneity and freedom.Newcombe’s understated charisma shines brightest in moments like these, leading the band with quiet confidence and an almost mystical presence. While he’s known for his unpredictability on stage, tonight he seems at ease, fully immersed in the music.
“Super Sonic” provides a fittingly epic finale. The Olympia’s old floorboards shake and the walls seem to vibrate with the sheer force of the sound. With its propulsive beat and soaring guitar lines, it almost feels like a sonic exclamation point at the end of an unforgettable journey. As the song reach’s its thunderous conclusion, the band leave the stage to deafening applause , their sonic imprint lingering in the air long after they have disappeared backstage.
Tonight, has been a fleeting moment of magic in a world that so often feels chaotic and uncertain. It’s been a communal trip into the depths of sound and emotion, guided by one of the most unpredictable and brilliant bands of our time. Despite their underground status, the band’s influence on music is undeniable, they defy expectations and remain a vital and uncompromising force in modern music. It’s also been a reminder that, for all their psychedelic flourishes, The Brian Jonestown Massacre are a damn fine rock and roll band at heart.
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I’ve loved music since forever. Graphic designer, photographer and artist at painted.papillon.smile (www.ppsdesign.co.uk)
