Watching Jamie Lidell on stage it’s all too easy to see his thing as one gigantic piss-take. The crazy outfits, the big soul numbers. He was dressed in Joseph’s Technicolour Dreamcoat the first time I saw him, in early 2004 at the Sydney Festival bar. He’s got a band now, and at the Bowery on NY’s Lower East Side, they opened with an explosive version of ‘Another Day’ from new record Jim. Read the record reviews and you’ll see names like Marvin and Otis and Sly and Prince – it often feels he’s tilting an ironic brow to those guys, but it wasn’t always that way. Lidell was an IDM demigod, a hero among Wire critics – Super Collider, ‘media suits’ made from videos, CDs and 16mm film – so his 2006 blue-eyed soul record, Multiply, was something of a surprise.
A couple of years earlier I saw the beginnings of that record at the show in Sydney. I could not stop talking about it. Lidell took risks. Along the way, his music alienated much of the audience, a crowd attracted by the promoter’s brand of smooth deep house rather than its headliner. Lidell’s live loops and heavily layered performance have since been co-opted by the likes of Final Fantasy and Dan Deacon, though their approach differs from Lidell’s uninhibited blast of the thrill of being there, playing live.
A while later, Multiply appeared. Hints of those early performances remained, there were some decent songs too, but musically it was flattened. The spikes and mistakes replaced by grooves and polish. Like a turntablist, his thing struggled on disc. Jim, his latest, appeared this year. But I’d lost interest and only went along to the Bowery show because friends wanted to go.
Flaunting a spray-on beard, dark glasses, embroidered jacket and stripy pants, Lidell stepped out with a full band, including a bearded sax blower in a smoking jacket (and not much else). It was a skronking, funked up jam, taking in 12 songs and both records. The band took a break halfway, leaving Lidell space for a 20 minute knob-twiddling, tumbling beats jam that culminated in an extended version of ‘When I Come Back Around’.
Lidell’s voice is not of the calibre of the artists he emulates – it’s rawer, not quite as versatile – and his songs don’t hit the same heights either. But the thing you need to understand with the guy, the thing I’m beginning to understand, is that all that stuff isn’t the point. The point is the performance. And his band – part Muppets, part Zapp – has a by-the-seat-of-the-pants joie de vivre that’s exhilarating, contagious, and seeing Lidell just makes me want to see him again.
