Belfast

There were some of the most infuriating and formularised contrivances that one associates with large scale rock gigs acting as a damper at this, Parker's second Belfast visit. The soulless calculation of rock's perennial treadmill (new year, new album and a tour to promote the album) was evident, detracting from what's essentially a soulful, intense music.

The set was short and the encores were incorporated into what appeared to be a pre-arranged time-span for the show, not as an added extra. There was also the sickening Pavlovian ploy of giving the audience a signal to dance at a pre-determined juncture, indicative of the kindergarten atmosphere which restricts my enjoyment of 'name' bands at big venues.

Graham Parker hasn't changed much – the small guy with the high forehead sporting an Oxfam jacket, T-shirt, drainpipes and tinted specs – but his set has, half of it coming from Squeezing Out Sparks. He's still writing furious, desirous and angry love songs and sometimes they are very good indeed.

The stand out, perhaps the best song in the whole set, and certainly the most compelling, was 'Passion Is No Ordinary Word': Parker revelling in his exposition of rich, raw, and passionate emotion. The song came to a stunning climax with sublime vocals and delicate keyboards. 'Don't Tumble With The Local Girls' was standard Parker – lyrically ordinary, but successful because of its memorable chorus and musical vitality. A third new song 'Don't Get Excited' featured some furious knuckle-dusting guitar from the Schwarz/Belmont duo; but it's a weak number, repetitive and predictable.

Flanking the diminutive Parker, the tall guitarists comprise a refreshing front-line attack. Brinsley Schwarz looked smoothly dapper, his playing fluid; Martin Belmont chewed his cud like a cow on speed as he sliced thick rhythm chords. Bob Andrews, featured more on backing-vocals and keyboards, played a deceivingly crucial part in the songs' structures.

Strangely, the older songs often lacked their former gleam and splendour: 'Howling Wind' was cruder and brisker with none of the lavish panache of old; and 'Heat Treatment' was drained of its swirling, raging fervour, perhaps because they were playing without brass. 'You Can't Be Too Strong', using only bass, keyboards and acoustic guitar, dragged along ineffectually – another lowpoint in the set.

The bouncers led the advance to the front of the hall in the middle of 'Hey Lord, Don't Ask Me Questions'; and from there to the second encore 'New York Shuffle', we got a tour de force of solid rockers. It was a grand slam finish with favourites like 'Soul Shoes', 'Pouring It All Out' and the new multi-flavoured 'Protection' delivered as well, if not better, than ever.

But as I went home, the alienation brought about by the old problem of audience control and the new problem of inconsistency, made me feel it definitely wasn't Parker at his best.

Gavin Martin

Reproduced with kind permission from Gavin Martin.

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