Coming up Roses again - Music - Arts - Evening Standard
       

Coming up Roses again

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Never has a singer's inability to sing mattered so little. Last night, Ian Brown's back catalogue, showmanship and sheer star quality were more than enough to thrill a packed and adoring Brixton Academy. Strange though it may sound, the spine-tingling effect the former Stone Roses frontman created was such that his difficulties in hitting the right notes seemed almost irrelevant.

Brown has had several creditable solo hits, and the number of people too young to remember the Stone Roses proved that he has earned a genuine fan base.

Nonetheless, it was the unprecedented decision to perform his old group's favourites that made this show a must for many. The idea of using a Stone Roses tribute act was an inspired one, and the backing band were clearly having the night of their lives as they did credit to their hero with Roses renditions that were eerily note-perfect.

Despite his 41 years, Brown could still carry off his distinctive hippy/chav/ soulboy look, sporting a leather tracksuit top, painfully cool sunglasses and an expertly-wielded tambourine. This made his passionate revisiting of classics such as Sally Cinnamon and She Bangs the Drums all the more spectacular.

There was an almost spiritual atmosphere among large sections of the audience. Some extended their arms reverently towards Brown, perhaps willing him to make this wonderful Nineties timewarp last forever.

Tuning wasn't a problem during the Stone Roses' anthems as the audience screamed out every word, sometimes drowning Brown out. But when, halfway through the show, he moved on to his own material, Brown's bum notes were cruelly exposed by backing music far more unobtrusive than the Stone Roses' scratchy wah-wah pedals.

Even excellent solo tracks such as Golden Gaze provoked a far more muted response. The most notable exceptions to the rule were Keep What Ya Got, his collaboration with Noel Gallagher for which the Oasis man joined him on stage to provide guitar and backing vocals. The epic, string-based track, F.E.A.R. was another of the few of his own works to which Brown did justice.

Things undoubtedly soured towards the end, but Brown was still showered with love as he left the stage. And why not? The Manchester scene in which he played a pivotal role never revolved around musical virtuosity.

Like Bez or Shaun Ryder, his importance stemmed not so much from what he could do, but from who he was. Many people can sing better than he does, but no one else can be Ian Brown.

Ian Brown

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