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If you were judging by concerts, 2024 is the Year of the Tribute Band.
Perhaps it simply reflects current tough times, a retreat into safe stuff that’s easy to sell.
Over coming months expect tributes to Elvis, The Beatles, Elton John, Billy Joel, Credence, The Doors, Bowie, ABBA, Nirvana – two different iterations at Totara Street, July 26 and August 3 – Pearl Jam, Red Hot Chili Peppers and more.
Last week I wrote about the musical middle-of-the-road – is this it? Endless lookalike nostalgia, from rock ‘n’ roll to grunge. I had to look twice when I saw The Buzzcocks in November but, bless their hearts, it’s real Buzzcocks – at least the living ones.
I must confess, I don’t get it. I’m clearly just being an old curmudgeon since, as I noted, this stuff is very popular. But I have no interest in people dressing up to look and sound like other bands. Sixty-year-olds look ridiculous in Beatles wigs.
On the other hand, I’m in favour of concerts such as Bloom Sings The Adele & Amy Songbook, at Totara Street in September. Like the recent Songs Of Bob Dylan show, there are lots of great songs there: go sing them. But don’t pretend to be the Amy or Adele or Bob. Interpret the songs; honour the music by creating something fresh.
Lou Reed.
I am also a sucker for tribute albums, enjoying the new The Power Of The Heart, a collection of the songs of Lou Reed. The opener, Keith Richards’ take on Waiting For The Man, dropped earlier this year and he is joined by the likes of Rufus Wainwright (Perfect Day), Joan Jett (I’m So Free) and The Afghan Whigs (I Love You Suzanne).
Most striking is a trio of women who bring new light to three of Reed’s best-known songs. Mary Gauthier leads a stately epic version of Coney Island Baby, while Lucinda Williams tears into Legendary Hearts with the same laconic detachment Reed brought to his own work.
Meanwhile, Ricky Lee Jones completely deconstructs Take A Walk On The Wild Side and makes it her own through a loping wide-eyed delivery and sheer unselfconscious force of character.
It reminds me of Reed himself claiming September Song on a long-ago tribute album featuring the songs of Kurt Weill and turning it into nothing but a Lou Reed song.
Lou Reed performing on stage.
The Power of The Heart compares favourably with last year’s Velvet Underground tribute, I’ll Be Your Mirror, which, while fun, somewhat failed to capture the sheer grown-up power of its source.
This struggles only in capturing the range of Reed’s huge opus. It’s also a bit serious, perhaps forgetting how funny Reed’s deadpan persona could sometimes be.
Let me offer recommendations for other tribute albums: Angel-Headed Hipster – Marc Bolan; Avalon Blues – Mississippi John Hurt; I’m Your Fan – Leonard Cohen; Beautiful Dreamer – Stephen Foster; That’s The Way I Feel – Thelonious Monk; and Beat The Retreat – Richard Thompson.
Lou Reed
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