Now this might be controversial, I’m not sure. I really like Supergrass, but I’d much rather listen to Gaz Coombes’ solo stuff. I might not have said that 20 odd years ago, but then Mr Coombes was purely Supergrass back then, so I’d not have made any sense, which I may not be now. What I’m getting at is that most dreaded of statements levied at an artist. He’s grown up. I know I know, it’s cringeworthy and hardly insightful, but surely it’s a fair point and more to that point, it’s a positive. You see, not only is his solo stuff more layered, free, experimental, it’s also fucking brilliant. Pitched somewhere between Cherry Ghost and Radiohead, the new album particularly is an absolute corker. We start with the new stuff, of which there’s plenty. ‘Don’t Say it’s Over’ is a particular favourite with its sweeping melodies that reverberate around the packed room. Seriously I’ve never seen Club Academy this busy, it’s bonkers. It takes me a while to grab a good spot and get away from the wankers that have parked near to me and started talking about their day, but I’m happy with my new vantage point, as ‘Feel Loop (Lizard Dream)’ starts its stomp. The speakers overloaded with bass and Gaz wrestling riffs from his guitar. This really is a brilliant tune, I’m almost shocked to hear it dispatched so early, but it really sets the mood. He’s got a lovely voice too, ‘Turn the Car Around’ is just lovely and delivered with the aplomb that maybe you expect of someone’s who’s grown up on stage. ‘Deep Pockets’ from the last album is a monstrous driving juggernaut. The lad on drums looks to be having a great time belting it out. All the band do to be fair, all eight of them. Including two backing singers who it has to be said sound sublime. This new album though I think is his best yet, with songs like ‘Long Live the Strange’ and ‘Not the Only Things’ showing the expanse of the record, as well as his love of an instrumental coda. I love this sort of stuff. Things are stripped back a little for ‘The Oaks’, just Gaz on piano and the singers (The Roxy’s). It’s gorgeous, but some of the pillocks at the back do start to chatter with the slower tempo. He introduces ‘The Girl Who Fell to Earth’ telling us about his autistic daughter, what an inspiration she is. Seeing the world through her eyes. It’s very touching, as is the song that follows, just Gaz and an acoustic. He’s just as comfortable doing this as he is tearing rapturous squalls from his electric, as he does on ‘This Love’, with The Roxy’s grabbing the percussion and going full cowbell. “This is my idea of a Saturday night, feels great”, I really couldn’t agree more as ‘Dance On’s meandering majesty permeates the room. It’s builds so well, the chorus hitting you like a cloud of pure joy. The guitars, the piano, the voices. Incredible. He comes over as a really nice chap, happily chatting between songs, telling stories, loose themes on songs like ‘Detroit’ from Matador that still sounds brilliant. Does it sound this good on record? Coz live it sounds massive!! ‘20/20’ follows with those fantastic rhythms underpinning another epic. I’ve never associated Coombes with stuff like this, but this is my first time seeing his solo stuff live and it’s quite a revelation. ‘Walk The Walk’ closes the set with a sexy swagger, before ‘The English Ruse’ tops the encore with ethereal interludes and full blown wigouts. It’s a truly wonderful set and possibly the best I’ve ever heard Coombes, even with Supergrass.
