They say there’s no crowd like a Glasgow crowd – a sentiment which Gaz Coombes himself later proclaimed to me – and Thursday was no exception, as a frenzied audience at King Tuts Wah Wah Hut welcomed the return of the ex-Supergrass Britpop hero with rapturous applause, cheers and shouts of “Gaz you legend!” It has only been two years since Supergrass split but what a return it is!
Even before Coombes set foot on-stage you could tell this was going to be a significant gig; equipment crowded the stage, with the drums unusually placed to the left to make room for an array of guitars, Roland keyboards and synths. Equally spaced green vertical strip lights lined the backdrop, mixing with the red floor lights to dramatic and eerie effect. The impressive stage set up flaunted a new electronic experimentation and Coombes did not disappoint.
From the first muted electronic harp scales of opening track “Bombs” set against what sounds like xylophone and wooden block sampled beats, it appears that we are a long way from Supergrass. There are nuances of David Bowie in Coombes’ vocals and memories of Portishead in the sweeping cosmic strings and downbeat electronic discords. It is a bold opener – a message that Coombes is taking his sound forward.
But before you sob into your beloved Supergrass LP’s fear not, for underpinning Gaz Coombes Presents you will still find the catchy pop hooks, masterful melodies and retro rock sensibilities that made Supergrass great, only now the limitlessness of being a solo artist which Gaz later told me was “exciting” due to the freedom “to be more experimental” but ensured me he did “without being self-indulgent” seems to have turned his sass dial to max. His vocals blend effortlessly from his recognisable style along heavy bass break-downs and frantic guitars into gritty Jack White style screams on the blisteringly sexy single “Hot Fruit”, and again on twisted garage-rock beast “Simulator”, both picking up where final Supergrass album “Diamond Hoo-Ha” left off in 2008. “White Noise” is beautiful in the simple emotional honesty of its lyrics delivered through a blend of prog-rock style verses and pop chorus. “Fanfare” with its spoken intro is reminiscent of Lou Reed or Bob Dylan, yet the cosmic keyboard slides are more Pink Floyd and the choral vocal harmonies keep it on the accessible side of 70’s retro. There were also quieter moments such as the sweet piano driven melody “Sleeping Giant”, but final song “Break The Silence” was undoubtedly the biggest break away from previous work – an electro-rock anthem with heavy driving synth beats and bass rhythms, during which the audience were treated to an improvised blues style layer break down as each band member and instrument was reintroduced to a thunderous finale.
The elated crowd stomped for more until Coombes returned alone performing acoustic versions of Supergrass classics “Moving”, “Sit Up Straight” and a cover of Gang of Four’s “Damaged Goods” which he previously released with Hot Rats. The King Tuts audience were in fine voice as they sang to every word of “Moving” with nostalgic smiles and the memories of a golden time palpable.
There was big affection in that wee room for the man who is arguably, alongside Damon Albarn, Brit Pops only evolutionary survivor. Never stagnant the mastery of his craft is clear; writing the entire album solo at his home studio before finding and teaching a band to play each part, Coombes also spends the entire night switching between acoustic and electric guitar and synth, often several times mid-song.
“Here Come The Bombs” is an accomplished album which succeeds where others struggle, in combining a mass of influences into one coherent, tight and accessible package. Gaz Coombes has managed to be experimental without isolating his fans – to push forward without losing what makes his sound unmistakably his.
Sharing with the audience and later, fans, fond memories of his early nineties gigs in the same venue and first festival experiences of T in the Park, it is evident that Gaz is feeling invigorated and is enjoying this return to the smaller venue. But be warned, he won’t be there for long – see this tour while you can because Gaz Coombes is set to go super again!
By Loretta Dunn
