Photo credit – Andy Martin
Last time I saw Field Music was on 28 February 2020 at the Dancehouse in Manchester. They were doing a tour of seated venues accompanied by visuals in support of their ‘Making A New World’ album which had arisen out of a commission for the Imperial War Museum. Those who were taking Covid seriously sensed that the world was about to close down. Whereas normally I would have been appalled at the environmental impact of a venue using disposable cups to sell drinks, on that occasion I was relieved as it lessened the prospect of picking up this unknowable and scary disease from a poorly washed glass. Could I have guessed that it would be five years until our paths crossed again? Possibly not, but there was a sense that the world might not be the same again. Regardless, it has been a period where my plans to venture back into the world had been scuppered by caring responsibilities followed by an unwelcome dalliance with blood cancer and chemotherapy.
Now in remission, it was a joy to return to The Band on the Wall, amongst my favourite venues. Field Music have been known for excellent choices of support acts and I was looking forward to The Golden Dregs having favourably reviewed their ‘Of Grace and Dignity’ album. However, the slimmed down version of the band with Benjamin Woods on guitar and baritone vocals backed by a keyboardist/backing vocalist fails to capture the majesty of their recorded work. Not helped by the guitar cutting out, it all feels very insular and despite the polite reception, does not connect even from my vantage point close to the stage. Hopefully, their headlining tour in May will offer a better representation of their qualities.
Field Music’s most recent album, 2024’s ‘Limits of Language’, was a synth heavy piece, almost exclusively the work of the two Brewis brothers (David and Peter) and did leave questions about its live interpretation. Consequently, it is a relief to see the familiar five-piece take to the stage at 9pm precisely. For an out-of-towner dependent on public transport, it is reassuring that gigs put on by promoter Now Wave run with the punctuality of a well-maintained Swiss clock. Gurgles of Liz Corney’s synth indicates that the set is beginning with the current record’s opening track, ‘Six Weeks Nine Wells’ which builds to a crescendo reminiscent of early Genesis.
‘Disappointed’ still makes an early appearance on the set list. Its funky bassline makes it as close as they come to a greatest hit. The combination of the Brewis voices with Corney’s whole-hearted backing vocals enables it to approach an unreasonable level of euphoria for a song about failing to live up to perfection. It is received so enthusiastically that David jokes about the audience’s volubility and wonders whether there is a 2 for 1 offer on Blue WKD, settling into his raconteur role and telling of a Sunderland pub that produced a cocktail in a pint glass called the Green Monster. Throughout the set there are plentiful references to their home city, usually to places that have closed. The Sunderland tourist board would be wise not to employ them as promotions officers for the city. ‘Waitress of St Louis’ refers to a café they frequented all too regularly and which adorned their album covers. The track features some especially nifty cowbell action from multi-instrumentalist Kev Dosdale. ‘Curfew in the Square’ relates to the closure of their M&S and the lack of anywhere to buy a loaf of bread in the city centre.
While songs from the ‘Limits of Language’ album dominate the set, they cherry pick from their 20-year catalogue going as far back as 2007’s ‘A House Is Not A Home’ with its circular drum pattern, all the way through to ‘No Pressure’ from 2021’s ‘Flat White Moon’. With Andrew Lowther’s immense, funk bassline propelling it, the tune has established itself as a live favourite. There are also welcome, lively airings for ‘Them That Do Nothing’ and ‘Let’s Write A Book’.
The title track from last year’s album is reimagined with the audience encouraged to guess who David thought they were channelling although, spoiler alert, no-one plumped for Alien Ant Farm. On ‘The Guardian of Sleep’, they claim to have been imbued with the spirit of Thomas Dolby on ‘The Guardian of Sleep’. The irresistible yet complex groove of ‘On The Other Side’ demonstrates how they gained an unexpected endorsement from Prince.
The only quibble with the 15-song set pacing is the penultimate number before the encore, ‘Turn The Hours Away’ which feels too sedate a choice until Peter’s guitar solo. At this point, David reveals that although they are about to start their final number, it will be followed by an encore but due to his dodgy knee they are not going to leave the stage and go through the pretence of not coming back. Debate as to whether this is their penultimate song ensues and jokes about reaching Schrodinger level shit. The running commentary and song explanations are all part of the joy of a Field Music gig. While some acts might be too shy, awkward or just plain miserable to interact with the audience, this sort of communication undoubtedly adds to the night.
Their “final” tune is the next level ‘The Noisy Days Are Over’ with its intense groove, Corney’s dramatic “shush” and Abbaesque keyboard notes at the end. It makes for an exhilarating conclusion to the set. The “encore”, which has become a traditional one for them, is the giddy rush of ‘(I Keep Thinking About) A New Thing’. It completes a night that shows Field Music are still peerless for great music and entertainment.
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
