Sunday, 26 August 2018

Musical Intelligence Visible (and audible, of course) - Brian Wilson on Southsea Common 25th August 2018 - A Review

A noisy teenage band called Cribs left the Main Stage just south of the Queens Hotel with the guitarist regaling us with the sight of baggy pink boxer shorts as he did so by allowing his jeans to drop to knee-level for some reason. Charlotte and I walked through the crowd like Moses through the Red Sea as the younger fans streamed past us in the opposite direction and found ourselves leaning against the barrier 10 yards from the stage. The Cribs' gear removed, roadies began wheeling platforms of instruments onstage. We could see a French Horn, a Glockenspiel, Glass Harmonica, a range of saxes and a drum kit bearing the motif, 'Brian Wilson - Pet Sounds' along with the usual guitars and keyboards. A white mini-piano was carried and placed centre stage in front of a stout, upholstered, wooden chair. It was cold and and a stiff wind was coming off the sea to the left but the rain which had washed out the previous night stayed off. Band members drifted on and off the stage checking their instruments were set up properly.

Then the moment came and it was a shock. The 11-piece band were already on stage. The figure of Brian Wilson appeared from our left wing supported by two or three helpers and leaning heavily on a Zimmer Frame. He was barely able to use his legs. He stiffly and precariously made the short trip to the piano and sat heavily behind it. A clicking of drum sticks and they launched into 'That's Not Me.' Immediately we were bathed in the gorgeous Beachboys' sound and things were happening all around the stage. Wilson's voice was rather harsh but in tune and penetrating. On stage with him were Al Jardine to his left on rhythm guitar and vocals and his son providing a brilliant approximation of the trademark falsetto sound to this right. The sax guy had tenor and baritone with a flute, clarinet and a glass harmonica. There was another rhythm guitarist and two lead guitarists one of whom was Blondie Chaplin, a diminutive figure who only played on a couple of songs. A lank elderly fella was on bass. There was a drummer and a percussionist and two keyboard players who both sang. One was elderly, the other the young guy with the big square specs from the Wondermints who played on the Smile Tour. At least six members of the band sang and the harmonies were customarily delicious.

As the band moved through the Pet Sounds repertoire (Al Jardine introduced 'God Only Knows' as perhaps the best song written in the last half century) it was hard not to be delighted by the sense of immense and complex musical intelligence arrayed before us. There always something to watch. Once the album was completed, including the instrumentals they launched into a medley of 'Good Vibrations,' 'Surfin' USA,' Fun, Fun, Fun and a brilliant 'Sail on Sailor' featuring a swaggering Blondie Chaplin on vocals and lead guitar. 

A measure of how many dates this band has done was when, at the end of one song, someone shouted from stage "Thank you London!" The slot on stage was strictly controlled (less than an hour) and Paul Weller was to perform after Brian Wilson. The moment they finished the Zimmer Frame was deployed and the great man departed, the burly, ponytailed stage manager walking him off with his hand over his shoulder. 

What we had witnessed was high art with which nothing else in the three day Victorious festival could compare.

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