THE BRIAN JONESTOWN MASSACRE MAKE A TRIUMPHANT RETURN TO MANCHESTER’S ALBERT HALL
There’s a palpable electricity in Manchester’s Albert Hall for a sell out psychedelic sermon from cult heroes The Brian Jonestown Massacre.
The Jonestown are a relentless force of nature in the musical canon, a 30 plus year ever evolving entity with a history of over 30 members and 21 studio albums. The sole consistent member over that time is vocalist and guitar player Anton Newcombe who borders on a prophet to those who know and appreciate his shear dedication to artistic integrity above all.
The band are cutting through Britain’s touring circuit like a gang of cowboy outlaws laying down 2 hour sets of irresistibly moreish psychedelia. The room itself could have been placed anywhere in space and time; 60s hippies and garage rockers chatting all things Jonestown before the Albert Halls huge church organ and ornate architecture.
Support came from Sweden’s Les Big Byrd who took it upon themselves to test how much this audience were ready for waves upon waves of head spinning psych. The sound system came to life with the crowd enveloped by fuzz , piercing keyboard sounds and bass grooves set to get any listener in the head swaying mood for the night to come. “Roadhouse blues” was a set highlight, a kraut rock groover with synthesiser reverberating around the venue with immediate connotations to CAN and Spacemen 3. The vocalist from the band would return later joining the Jonestown.
After a nearly two year break from the stage we all awaited the return of the band knowing that we where in for a night of music from the peak of the psych rock mountain daring to look down was not an option.
There was no need for introductions , stage banter or “Hello Manchester” the band just walked onto the stage picked up guitars , tuned up enough strings to knit a jumper then flew into the first track. Rapturous applause and shouts from the audience at the heroic return of “BJM” as a group of lads next to me chanted like a football terrace anthem. The stage was bathed in red LED glow as “Maybe Make It Right” filled the air; they where back, and for the next 18 songs we were transported beyond reality.
Guitars strummed in unison and a bass tone which I was certain was going to shatter the stained glass windows as Anton approaches the mic below his cowboy hat and shades and begins to sing. Instantly transfixed on living legends the spaceship had taken off. Joel Gion, the band’s iconic percussionist rattles his tambourine at the crowd smirking and keeping time, all the members look genuinely happy to be playing again and out on the road.
“Vacuum Boots” was next , from the bands 1996 album Take It From The Man! – an unexpected addition to the set with the band digging so far back into there expansive discography: “Laugh all you like if it makes you happy , you do what you like if you want you can ask me” is delivered with an ounce of venom before BJM enter that free flowing musical state which keep this band as addictive as ever, you see them once and you are guaranteed to go back every tour.
A brief moment after the song for tuning guitars and making sure the band where ready punctuated the gap between tracks. The time spent tuning is something that has received some criticism but making sure 4 different guitarists vintage 1960s instruments are in perfect tune is no mean feat especially with 12 strings on a vox phantom.
“That Girl Suicide” was next and the set was building the BJM had felt out the rooms vibe and let us know so with a shoegazey classic from there first album Methadrone (1995). Anton started the song as he does for most of the set before Ricky Myami and Hákon Aðalsteinsson lay into the riff. Every four bars of chords is punctuated by a blast of pure psych rock fuzz and Anton’s guitar wails filling the room and our now completely detached heads. The song finishes with an outro jam where the BJM show off there notorious ability to build a world in which noise and a true dedication to rock and roll inhabit.
The next 4 tracks were from the last two albums released by the band The Future Is Your Past (2023) and Fire Doesn’t Grow On Trees (2022, two albums in the space of a year on top of gruelling touring schedules is a testament that the BJM are not slowing down any time soon. The first song from this section was “Do Rainbows Have Ends” a slower bouncy track that made the sea of heads in front of me move in wavelike motions.
“#1 Lucky Kitty” followed as an acoustic guitar ringing out and the bands drummer Uri Rennert pounds out a tomorrow never knows Ringo beat across his whole kit, three chords are strummed in a meditative mix of Anton’s chanting vocals and low end bass which is turning the Victorian floorboards into soup. Anton steps out behind his mic-stand turning off what sounds like a compression pedal and letting his semi hollow bounce reverb through the ceiling. “Fudge” was the last in this showcase which starts off with another acoustic swing but builds till every member of the band are in perfect harmony. “So we fight on” is the last lyric before the BJM take off , an all too perfect lyric to describe the band nothing gets in the way of the juggernaut which is the Jonestown.
The tuning comes as a moment of respite , the smiles on the faces of the crowd show how for 2 hours we are escaping the outside world and letting go, in the presence of a band who have carved out a career going there own way.
Next on this absolute tasting menu of the bands best is “Days Weeks and Moths” which drones like a thick jelly as Anton moans into the microphone his hat pointed to the floor, like a cowboy who’s spent too long on the range he has an air of quiet discipline. “My Mama told me oh so long ago don’t let anybody fuck you over don’t let anyone lay you low” a cheeky but soulful line which is a capsule of Anton’s philosophy.
A tambourine rhythm is generating around the room each tiny cymbal creating its own pocket in the air, “Anemone” is starting and with a roar from the crowd the BJM play there greatest hit. An anthem of sorts for anyone willing to explore the darker edges of life , a rallying cry between the audience. Its a truly immortal track which puts us all into a trance like stupor. “You should be picking me up instead of dragging me down” on each time “up” is said 1000 people throw there hands into the air as the house lights flash illuminating an audience completely awe struck. One of those songs that has to be heard and felt live a musical odyssey.
We have entered the non stop classics section of the set it is nothing but the best from now on and I for one was all for it , every section of the bands catalogue is being covered. “Nevertheless” is next with the die hard fans grasping forwards singing every word the BJM are at home amongst the energy being projected to them.
“Pish” was another highlight, Anton leads the riff in again as his band of merry men pipe atmospherically charged echoing chords through the sound system. People around me are singing the riff out loud as we all begin to dance, shuffle along and reach for the sky the BJM are thoroughly warmed up and are hitting there stride track after track.
“Van Hande Med Dem?” Is the fastest song on the set an absolute jump around arm in arm anthem. Even though its in Swedish which I don’t speak a word of. Les big byrds vocalist runs out to join the band with a bottle of wine in his hand clearly enjoying life on tour. He starts the singing a little too early and catches a glare from Anton as the rest of the band giggle along. All the beautiful tension in the crowd is released as the place goes off like a hand grenade. I’ve never seen a mosh pit at a BJM show before so this is a first, middle aged dads are rocking around with 20 something tripping psych rockers. The sense of community is intoxicating it makes you want to grab the bloke next to you tell him you love him then jump around like maniacs.
We are now entering the final act of the night. Only three songs left. The spaceship Jonestown has reached the stratosphere and they’re not cutting the engines. “A Word” is my personal favourite track of the night its riff is heavy beyond belief but doesn’t lose the melody which punctuates the BJM whole discography. The band lay again and again as Anton lets off feedback and reverb. Keyboards take flight and the whole audience looks like they are rowing a boat. In and out , constant repetition within the noise. We are no longer in Manchester , its no longer Valentines day we are amongst a set of the most talented musicians on earth. The song feels like it lasts forever and I certainly want it to.
Out of left field comes “Servo” another BJM classic and title song for legendary cult documentary DIG! (2004) which follows the BJM and Dandy Warhol’s ropey relationship from the mid 90s to early 2000s. But that was the past and the moment is now as the lads around me take off bouncing dancing like its woodstock and we all join arms. The riff is so memorably brilliant that we sing along. I’m smiling like I should be locked up like really smiling teeth out serial killer grin. Who would want to spent Valentines Day in any other way? Joels tambourine is being rattled like a drum as keyboard player and multi instrumentalist wizard Emil Nikolaisen plays a recorder over the top like some kind of Tibetan monk.
The night is about to be over, but one last parting gift from the BJM upon the raised stage. “Super Sonic” not to be confused with a certain Mancunian band’s song, this is an Indian inspired freakout. A bongo player sneaks onto the stage and begins a rhythm as the band build and build feedback and reverb to the point I’m hooked completely on the percussion. A sitar rings out before the BJM make one last charge , it’s go time and there taking us along for the adventure. I’ve never seen this band so tight before so hyper focussed on one goal, to take this crowd away from the world and into the galaxy. “Its the way that your living I’m forgetting what I know and I know” is whispered as the group let it all go. Sitar is snaking its way round the room percussion is driving the rhythm and with it the 4 guitar players act as one. “Do you know where you going when its over and done” – I don’t think I do, Anton, but after that ill go anywhere as long as the soundtrack is The Brian Jonestown Massacre.
Buy the ticket take the ride , The BJM continue their tour across Europe in May, so if they are landing somewhere near you, you know what to do.
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