The Membranes
The Membranes are first up tonight as frontman John Robb jokes with the audience about lack of space on the compact stage of Edinburgh’s Liquid Rooms as they set up, given that they’re just about to sing about that very thing – Space.
The post-punk connoisseurs have been on the go in one form or another since the late ‘70s and are currently touring on the back of their recent double album release, ‘What Nature Gives…Nature Takes Away’.
Robb is the perfect entertainer, the audience warming to his lively banter as he searches every corner of the venue for eye contact. Clambering about precariously between amps in his huge beetle-crushers, he attempts to get closer to the crowd and you can’t help but be drawn into his enthusiasm.
The Membranes’ sound tonight is deliciously dark, as they explore the environmental issues which are prevalent throughout their intensely atmospheric new album. The line-up features classical pianist and composer, Amelia Chain, on keyboards, percussion and backing vocals. Shrouded in black and garnished with a flowery headdress and lace veil, she’s a sight to behold, adding to the quirkiness of the band and encompassing the dark opera/goth-tinged edge their music brings with it.
Deep, gutsy basslines reminiscent of Joy Division are most notable on tonight’s highlight, ‘Deep In The Forest Where The Memories Linger’. Amelia’s goth-opera chants, complete with skyward-weaving arms, build to a frenzy as Robb lunges around the stage…well as much as he can in the current cramped conditions with those big feet. This is followed up nicely by ‘Black is the Colour’, another bassy number with dark operatic overtones and pounding grooves.
The set is short, energetic and pure entertainment. Think Joy Division, The Cardiacs and a spot of Sisters of Mercy mashed into a post-punk-goth jam. Catch them if you can!
Mark Lanegan
At the opposite end of the banter scale, Mark Lanegan and band take to the barely lit stage. Masked by a thick fog of dry ice, it’s hard to gauge his mood, but it soon becomes apparent that all is not well with the legendary singer/songwriter.
Nevertheless, things get off to a promising start as ‘Knuckles’ merges into ‘Disbelief Suspension’, the rockabilly-driven opening track from his new album, ‘Someone’s Knocking’. This latest offering sees Lanegan triumphantly delve into the blues-entwined, doom-driven electronica he’s been experimenting with for some time. Next up and lowering the pace substantially is ‘The Gravedigger’s Song’, from 2012’s ‘Blues Funeral’, his gravelly tones shovelling deep beneath the vaults of Edinburgh’s Old Town. It’s a beguiling number which triggers a wave of heads to sway along with the rolling rhythm. ‘Blues Funeral’ is the only album I’ve ever bought with a verbal warning of gloom and depression. I remember reassuring the guy in HMV that I’d be fine, and of course I was almost euphoric as I immersed in the spectacularly soothing, uplifting tracks, Lanegan’s raw, raspy blues juxtaposed with the synthesised psychedelia he’s been captivated by for the last decade. As the crowd cheer, it looks like he’s contemplating a word or two. Will he speak? Or, on second thoughts, keel over? He’s stock-still, clinging to the mic, just staring into his own world through those heavy, grimy glasses. The moment passes and he’s on to ‘Nocturne’, from 2017’s ‘Gargoyle’, his voice digging deeper, louder.
In ‘Stitch It Up’, from ‘Someone’s Knocking’, a more upbeat Lanegan is briefly present. The heavily-synthesised track is more typical of the new album than opening track ‘Disbelief Suspension’, as is ‘Penthouse High’, and a nod to Lanegan’s appreciation of Depeche Mode and New Order. He even grunts a thank you after ‘Burning Jacob’s Ladder’. Gotta love him! But for me, tonight’s high spot is the tranquillising ‘Bleeding Muddy Water’. Beautiful.
Jeff Fielder’s Spanish-edged guitar intro fuses into the synth-pop marvel that is ‘Ode to Sad Disco’, also from ‘Blues Funeral’ and one of the evening’s most popular numbers. Unfortunately, this is where things really start to slip. Lanegan drops lyrics and looks foggier than the atmosphere while the band shoot each other helpless glances before momentarily losing it too. Something’s afoot… Lanegan’s a professional and this isn’t the norm. I want to run up and usher the poor guy off myself. After tottering towards his trusty mug, he discusses a change to the set list, but his voice is still flaky, and he appears to be fading fast. After an abrupt end to ‘Death Trip to Tulsa’, he mutters a few words to Fielder before the band leave the stage. Fielder returns seconds later to offer us Christmas wishes and an apology, saying he’s not sure if they’ll be coming back on again or not. We’re doubtful.
It’s got to be said that it must be a nightmare being centre stage when you’re not really feeling up to it, but don’t want to let everyone down all the same. Lanegan gave it all he could in the circumstances and we should be grateful and let it be. Having seen the set list, we missed maybe three songs and the encore – not too bad really. We still caught more than a glimpse of this phenomenal talent, and I thank him for that. I’m also thankful to have since heard that he was in fine form on Sunday in Manchester, even taking time out for post-gig signings.
The crowd hang about for the second coming but that turns out to be a roadie dismantling the mics. It’s 9.18 on a Saturday night and the lights are up. Rock n roll.
Words: Shirley Mack
Pictures: Calum Mackintosh @ayecandyphotography