Undertones - Casbah, Sheffield, 20/12/2003

  by Denzil Watson

published: 30 / 12 / 2003

intro

Nearly 30 years on after first forming, and back with a new frontman Paul McLoone, the reformed Undertones still manage to "sound fresh as daisies" in a set that merges the old with the new at the Sheffield Casbah

"The Undertones - sold out" reads the notice on the door of Sheffield's bunker-like Casbah venue. And without the help of the mainstream music press and the support of a major label. No mean feat and tribute to the longevity of Derry's most famous band. So taken by the venue were the band when they came here two months earlier in October that they're back here within the space of two months. It's easy to understand their affection for the Casbah, the crowd packed under the low ceiling with the low stage reducing the distance between the hot sweaty masses and the band to a hair's breath. So there's no Fergal Sharkey. Perhaps a bit of an issue for some the Undertones more purist fans. How would they fair without the warbles of the parker-clad one? Well, if there were any doubts about whether new frontman Paul McLoone is up to the job they're soon blown away after the first few verses tonight's opener 'Jimmy Jimmy'. He proves to be an inspired choice. It's uncanny how he manages to not sound dissimilar from Sharkey while at the same time stamping his own vocal identity on the songs. As the classics are despatched with gusto ('You've Got My Number', 'Male Model', 'There goes Norman', 'Jump Boys' etc) you begin to realise just how many good tunes the Tones have penned. And while many of the other bands from their era still plying their trade sound a tad tired and past their sell-by dates, The Undertones still sound fresh as daisies - their tales of teen love and romance not dating one bit. The main genius behind the band's prolific song writing, the ever modest John O'Neill, stands unassumingly behind bassist Mickey Bradley, pounding out the power chords, in perfect synch with younger brother Damian O'Neil's guitar slashes. The set is (perhaps unsurprisingly) top heavy with songs drawn from the band's first two LPs, although they inexplicably fail to play 'Casbah Rock'. There's still room, however. for a hefty slice of their excellent new long player 'Get What You Need'. The seven or so new songs on show (with the exception of single 'Thrill Me' where McLoone does a pretty good Fergal impression) owe more to the scuzzy, angular guitar sounds that made That Petrol Emotion such a joy to behold in the 80's. The pick of the newies, the catchy 'I Need Your Love the Way It Used to Be', the spiky 'Touch' and the aforementioned 'Thrill Me'. And how many bands could finish their set with three songs of the quality of 'Teenage Kicks', 'My Perfect Cousin' and 'Get Over You'? Bedlam breaks out during the first of the three, grown men are seen to cry - euphoria boarding on near-religious proportions ensues. By the time they've returned twice for their six-song encore, finishing with classic B-side 'Mars Bars' during which a girl leaps on to stage to present McLoone with guess what - yes, a Mars Bar, they've reeled off nigh on thirty songs. Perhaps they all need a Mar Bar. Set List: Jimmy Jimmy Gotta Getta Thrill Me You've Got My Number (Why Don't You Use It?) Oh Please There goes Norman I Need Your Love the Way It Used to Be She's a Run-around Touch Jump Boys Here Comes the Summer Everything but You Girls Don't Like It Ride the Rough Escalator Male Model Girls that Don't Talk Wednesday Week Julie Ocean Family Entertainment Joyland Teenage Kicks My Perfect Cousin Get Over You Encores: True Confessions You're Welcome I Know a Girl Billy's Third Top Twenty Mars Bars

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