This content featured in a September 2015 issue of Popbitch.com
I was on my ‘two hours to go’ wind down at work this Thursday when a tweet appeared in my feed about Johnny Borrell launching his new single up the road at Dalston’s Passing Clouds.
Razorlight has always been a bit of a guilty pleasure of mine, up there with still occasionally dining on the stray packet of Angel Delight from the back of the cupboard, so I copy and pasted my plan to attend, sending it to about 25 of my local friends.
Of the two people that replied to my invite, one had no idea who Johnny Borrell or Razorlight are and the other said he’d love to but likes the venue too much and wouldn’t want to taint future visits there.
I thought the apathy was fair enough considering Borrell’s knack for making people disinterested, but I like to see the good in everyone. For instance, I enjoyed both Johnny Borrell and Carl Barat’s first solo albums. Throw the fact that I write a terrible poetry blog into the mix and I’m the perfect recipe for one of the few that was shameless enough to head for the show.
On my train journey up I flicked through an Evening Standard that mentioned a big Libertines tour and chuckled remembering Borrell’s plea that Pete Doherty ‘Don’t Go Back To Dalston’. Then I focused my mind on what I might be walking into.
Would the band include all the terrible saxophone of Borrell 1?
Was the white jeans and t-shirt going to make an appearance?
What about the swirly moustache and pirate hat?
Amateurishly, I’d set off way too early and arrived to a near empty venue besides a small group who were given free entry for producing sketches of mandala symbols. I’d seen this method of payment mentioned in that tweet earlier on, but am not into felt tip colouring in so opted to pay a fiver.
After half an hour of mindlessly swiping my finger up and down my phone screen to refresh a flood of vacuous news items, I was tapped on the shoulder by a lady in her mid-thirties who was clearly alone.
Initially I welcomed the company to kill time but it soon transpired she was wired on something Ketamine like. During the support band’s set, she shouted at me that she thought its lead singer looked like a homeless tramp, just as the music stopped entirely.
The whole crowd, now of around 100, turned around and looked judgmental to say the least. I headed to the toilet to hide but there was only one cubicle and it felt mean denying the 40 year old man I’d seen sniff his way in and out of it another line.
When Johnny Borrell and his band, named Zazou after a French WW2 subculture appeared, they played the same very quiet loop for a good fifteen minutes as the crowd became increasingly restless. The crazy girl I’d been cornered with earlier had loudly made new friends across the way and their talking was visibly getting to poor Borrell.
Eventually he stepped to the microphone and uttered ‘Focus’ a couple of times, before rambling through a disapproval towards people talking and looking at their phones. We were told things wouldn’t get started until there was complete silence for ten seconds. Greedily, this was increased to twenty once it had finally been achieved. At one point Borrell threw a microphone to a loud punter who broke into Whole Lotta Love and generated by far the biggest cheer of the night.
In the couple of moments I wasn’t consumed by the awkwardness of a lead singer with sensitive hearing and room full of loud, intoxicated audience members, I noted the out of the ordinary makeup of the band; a young saxophonist dressed in a Blues Brothers costume, an up in the clouds violinist and a Hare Krishna monk sat crossed legged amongst various bongos. They were definitely tight and had some nice rhythms, accompanied by no less than five different guitars Borrell switched between and the worst gig atmosphere I’ve ever experienced.
By about song five, Borrell seemed all out of puff and patience, exchanging bemused looks with his band members as the crowd, perhaps lost beyond the point of return following the opening 15 minutes lesson in being silent, continued talking loudly. Borrell announced they were stopping for a break, at which point almost everyone filed off the dance floor.
I’d seen enough of the spectacle I very much expected and didn’t return for the second half of the gig, if it ever happened, because it wouldn’t have been worth missing the last train and having to deal with night buses for.
The pain free journey gave me some time to ponder; is Johnny Borrell the Andy Kaufman of has-been rock, with a Kanye-like genius for trolling his public and having the last, lone laugh to himself? Or, planned or otherwise, is he simply one of the most unlikeable people on Earth that can’t help but offend and seem a dick?
Either way, it’s all a little bitter sweet. His voice is as strong and distinctive as it ever was, he’s a solid guitarist and amongst the pretentious lyrics you’ll find great snippets of the memorable lyricism that was all over the first two Razorlight outings.
The day after the gig, I searched Google and Twitter for any reviews or mentions of the show but didn’t find one. That there’s no bad press about yet another Borrell incident suggests more so than ever, the magazines and blogs just don’t care. This time round, possibly, Borrell cares just as little.