Festival Theatre, Edinburgh
Four stars
Swatting flies probably wasn’t on John Cale’s agenda prior to his Edinburgh International Festival appearance, but such an irritating insect circles Cale over several songs in. The elder statesman of avant pop classicism finally appears to repel the assault from behind his keyboard, necessitating a roadie to come on and reposition his microphone.
This gives an extra edge to an already mighty Guts, from 1975 album Slow Dazzle, one of several sojourns through Cale’s 1970s post Velvet Underground purple patch. This sees Cale’s superb three-piece band led by long term guitarist Dustin Boyer breathe fresh life into the title tracks of Cale’s Paris 1919 and Helen of Troy albums, from 1973 and 1975 respectively, as well as Barracuda, from 1974’s Fear record.
Fleshed out by understated electronic textures that go beyond rock and roll to something more progressively propulsive, there is even a magnificently demonic take on 1980 single B-side, Rose Garden Funeral of Sores.
The scene is set from the start by way of the organ and atonal guitar drones that soundtrack a screen awash with 1960s arts lab static which introduces a set of old favourites mixed and matched with songs from Cale’s recently released Mercy album. On both, the rich croon of his singing voice retains its melancholy splendour throughout.
A woozy, timeless air permeates the slow burning synthetic beats that punctuates both old and new material, with Cale makes nods to his colourful past as if taking stock while still looking forward. This is done by way of his wild years referencing Night Crawling, and, most definitively, on Moonstruck (Nico’s Song), a personal reflection on the former Velvets singer whose solo records he produced. Topped off by his long-standing party piece of a fractured Heartbreak Hotel, Cale may be looking back in languor, but there are no flies on him yet.
The List, August 2023
ends
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