Dave Woodhall watches Graham Parker at the Artrix. Both more than satisfy.
There’s no such thing as a bad live venue, but some are definitely better than others. One of them is Artrix in Bromsgrove, which closed in 2020 due to a combination of council cuts and Covid. It’s now open again and making up for lost time, Friday night’s entertainment coming courtesy of a solo show featuring the veteran and much under-appreciated Graham Parker.
The evening stated well enough – the venue’s volunteer staff seem genuinely pleased to see their audience; my crutches-wielding plus one was found the best and most convenient seat in the house while another solicitous usher made sure throughout and during the interval that everything was fine. It was.
The stage was almost bare; a couple of guitars and a table the only set furniture. In the circumstances it was always going to be an intimate performance I’ve seen him with assorted bands and as part of a duo; this was the first time on his own and from the minute he walked on, Graham delivered.
This tour is billed as a fiftieth anniversary of the man’s first two albums, Howling Wind and Heat Treatment, but it was typical of his uncompromising attitude that the opening number Watch the Moon Come Down was from the third release Stick to Me.
Eventually the featured songs came out, interspersed with others from a back catalogue stretching back five decades. The acoustic nature of the first half in particular showed just how such a soulful voice has barely changed since the older songs were first released.
The recent Elvis Costello tour provoked lengthy comments about how the voice from a similar member of the generation when pub rock became new wave has declined over the years. There are no such worries here; either Graham Parker has an exceptional voice coach or he’s found the secret of eternal vocal youth.
What he also retains is a sharp wit and the ability to conjure up a lengthy, sometimes surreal and perhaps believable story. Did Graham learn to play kazoo at a Buddhist centre in Neasden where the instrument forms a basis for meditation? Possibly (the centre exists – thanks, Google). Did he think up the words to I Live in the Past on the spot while singing the 1978 release Silly Thing? Doubtful, as he’s been playing it at earlier gigs. Does he really think Waiting for the UFOs is the worst song from his most commercially-successful album, 1979’s Squeezing Out Sparks? That’s what he said, and who are we to argue?
A short break and the electric part of the set was underway. Opener Nothing’s Gonna Pull Us Apart from Howlin’ Wind, Lost Track of Time, a 2023 release from another of Graham’s bands, the Goldtops. Stories about teenage romance and the accompanying illness, of how a drink-induced fall led to a longstanding hand problem, and yet more wonderful songs. It takes a lot to turn a full-band arrangement complete with horn section into a solo piece; Back to Schooldays and White Honey were particular standouts.
An encore featuring the early Heat Treatment, the later Don’t Let it Break You Down and then a majestic Hey Lord, Don’t Ask Me Questions. Stripped down, ska-infused and with the audience singing the chorus, this was a fitting end to an enjoyable evening.
As the crowd filed out, the Artrix staff moved in to clear away what bits of rubbish remained. Another small touch but it showed the affection in which they hold their venue. May it run as long and keep its standards as high as the man on the stage this evening.
