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REVIEW: Frank Turner and Chris TT @ The Tower @ Kings’, 30/11/08

My first encounter with former million Dead front man Frank Turner as a solo artist was in 2005 at The Dove in Micheldever, which attracted all of about twenty locals. His blend of politically charged anti folk and self labelled ‘camp fire punk rock’ was a little lost that evening but the current tour he’s on, which saw him play to 1,200 in London the previous evening, gives an idea of the word of mouth progress he’s made.

Sometime band mate and tonight’s support, Chris TT, admires Turners workmanlike attitude and rise, comparing it to the Levellers in the early nineties. For The Tower tonight is also a reason to celebrate: Under new management and a new outlook tonight’s show sold out three weeks ago and there’s a real buzz about having two rising artists, both originally from Winchester, playing homecoming shows.

First to Chris TT, who to look at merges Brian Blessed and Jack Black, but has the convictions and intensity of an ardent political activist. Given that the Tower is now owned by Kings’ School, Chris TT’s advocacy of de-schooling in favour of learning voluntary life shills must sit a little awkwardly. But if nothing else Chris TT is fantastically candid and readily admits that he’s full of contradictions. His latest LP, ‘Capital’ is, the third in a trio of releases based on the excesses of business and its narrow mindedness yet he confesses to getting excited about hearing his music in Topshop. His backing group the Hoodrats pale into insignificance as they take the stage as Chris TT completely fills it with his dominant character and personality. And nothing should be taken away from the man as a songwriter. Sincere, on the pulse and heartfelt, Chris TT’s music gains him new fans almost instantly. ‘(We Are) The King Of England’ is very apt given the current financial situation and election of London Mayor Boris Johnson who takes a pounding in conversation. Sonically the highlight is the riff heavy ‘Where Were You’ which soars and is a classic protest song. At times there’s humour too ‘None of Them Give A F**k About The Future’, is a whimsical look at long term prospects and his set takes on an almost Fast Show feel when he introduces ‘Ankles’ as a ‘song about domestic violence…which is nice’. As a school pupil Chris TT readily admits that whilst bright he had a rebellious aspect, his fondest memory being the creation of his own Private Eye style publication which was confiscated and shredded. He chuckles to himself gustily in recounting this episode and therein lies the appeal of this man: Chris TT is a larger than life self parodying, musically tidy, revised political activist who can laugh at himself.

So then to his friend Frank Turner: To look at he is a bean pole tower of a man with huge hands and massive eyes, reminiscent of the BFG. His chiselled beard goes well with his intelligent and well spoken demeanour and seem particularly relevant to his anti folk. But it wasn’t always that way: He confesses that whilst he has realised the value of passive resistance and protest he spent his younger years ‘throwing bricks and stones at policemen’ and generally being all things anti establishment. Turner is such a kind and engaging character that this seems incredulous, especially as there seems barely a member of the audience who doesn’t get an individual thank you. A member of the audience called ‘James’ donated £50 to Breast Cancer Research for a lyric change and is thanked, his sister brother in law and nephew are thanked, new Tower manager Ben Ward is thanked and wished a speedy recovery from pneumonia and Turner thanks his mother, before apologising for his use of foul language. But broach political or social issues and he’s like a bull at a gate, desperate to impose his opinion quickly and vehemently. Last time I saw Turner play he was hugely frustrated that country issues had been reduced to fox hunting issues, when as he saw it the countryside alliance had so much more to shout about. ‘Being from the country myself the whole uniqueness of it had been completely lost when there are far wider country issues’. There’s little of this to come out in tonight’s show, but in conversation he’s still boiling. This pales into insignificance however when he starts to talk about identity cards. This is a real fishbone in his gullet and he becomes more and more animated, edging ever nearer the edge of his seat and gesturing his elongated fingers more as he talks about it. ‘The government want to introduce ID cards so they can own your identity’, he pleads. ‘It’s about the only thing they don’t have and I don’t want them to have it. It’s a dangerous road to go down and there’s something horribly Foucauldian about it.’

As for the gig Turner has become far brighter and more danceable than in his early controversial and somewhat divisive solo days. Now established as a solo artist who fronts a band who incidentally have no name,( but my suggestion of Frank Turner and The Lubed Iguanas is surely a winner) Turner makes a heck of a noise. He still plays an electro acoustic throughout (and will amongst tonight’s energetic gig go through several restringings) and steps out alone to kick off, before launching into a rousing ‘Reasons Not To Be An Idiot’, with full and dynamic electric backing. It’s a predictable winner, instantly engaging everyone packed into the tiny room in the chorus of ‘Get Up, get down and get outside’. In the eyes of a very generous crowd he can do little wrong from here on in. His inability to adjust guitar straps, his guitar sting vandalism and the nervous energy with which he interacts with audience members are put down to slight goofishness and written of as ‘part of his appeal’. And it’s fair to say that for a word of mouth artist he does have far reaching appeal on the underground. ‘To Take You Home’ is a homage to small town pride, very apt in Winchester and sonically carries his devastatingly simple, but simple strumming. Turner’s most tear jerking moment is ‘Long Live The Queen’ in one part a party song and in the other a poignant tribute to a friend who succumbed to breast cancer. As is typical of Turner’s convictions, the proceeds from the recent sales of this single went to the same charity. Turner’s music also conveys rejection and alienation, no more so than in ‘Substitute’ where for the first time he appears completely in control of everything around him. In conversation he talked about his sudden arrival in his mid to late twenties and how that had had an impact on his music and politics. This is no more prevalent than the ecstatically received closer ‘Photosynthesis’, relaying the fears of losing touch with new music, new language and the sudden expectation to be conventionally responsible. Despite describing Rivers Cuomo as a ‘t**t’ Turner is a huge Weezer fan so I asked him what he would do if they asked him to join the band. Predictably he said he would be ‘flattered’ but would decline as he is proud of what he’s doing now. And rightly so as this was a packed, sweaty, clumsy, engaging show to a very knowledgeable and supportive crowd that while at times simply delivered was wholly enjoyable.

Ally Birch

Frank Turner – Love Ire and Song and Chris T-T – Capital, are out now on Xtra Mile Records.