Blimey, I wasn't planning on being there that early! I still remember turning up pretty early for the Arena show last December and the queue being populated almost solely by about 12 people off this forum.
Yeah they seemed happy, on stage beforehand Jarvis looked really nervous but he did a fabulous job, when we met Hawley he was on the wine and had lost his shades, he was really funny and also very swoon worthy. Jarv seemed happy and even resorted to physical contact!
they did Sheffield: Sex City and This is Harscore: End of the Line remix. It was stunning.
-- Edited by Jarvgirl on Wednesday 12th of June 2013 10:47:44 PM
Did they seem happy about how it all went? The pre-publicity sounded like it was going to be a rather emotional look at the human side of the industry, that would have got to Richard especially presumably? He sounded pretty emotional at that BBC concert he did last year at Magna where various members of his family had worked.
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We'll use the one thing we've got more of, that's our minds.
Does anyone get the feeling that Pulp still really enjoy playing/working together but that it's these creative or appealing one-off events (tonight, the After You recording with James Murphy, the cruise etc.) that keep it fresh and interesting for them and that the traditional careerism-cycle necessary in music (write, rehearse, record, tour) is just something that doesn't appeal due to the level of commitment involved?
I get the feeling they would be happy meeting-up every now and then to work on something that doesn't require lots of planning and waiting around. Hence the constant skirting around the issue of direct "Are you gonna write new material/record a new album" type questions. I don't know how you get the perfect situation where the band are happy at not being tied-up with Pulp but still carry-on with the group sporadically while we still get to hear new stuff from them now and again.
Does anyone get the feeling that Pulp still really enjoy playing/working together but that it's these creative or appealing one-off events (tonight, the After You recording with James Murphy, the cruise etc.) that keep it fresh and interesting for them and that the traditional careerism-cycle necessary in music (write, rehearse, record, tour) is just something that doesn't appeal due to the level of commitment involved?
I get the feeling they would be happy meeting-up every now and then to work on something that doesn't require lots of planning and waiting around. Hence the constant skirting around the issue of direct "Are you gonna write new material/record a new album" type questions. I don't know how you get the perfect situation where the band are happy at not being tied-up with Pulp but still carry-on with the group sporadically while we still get to hear new stuff from them now and again.
Nick Banks said a while back it was all about the money! It's life, I'm a director and I live off pittance, I would happily sell a greatest hit over and over for some daylight to pay stuff off.
I'm not saying he's wrong but Hawley can be quite outspoken at times. He's always very defensive of Pulp, but I'd be surprised if they didn't make a fair few bob in their heyday. Maybe he's referring to their career as a whole where they lost out with money at various points. The bits he was involved in between 98-01: TIH barely recouping the money that went into it, Island offering a reduced deal after the muted reception to We Love Life and the bits he remembers from the days of struggle in the 80's would support that stance.
As for the reunion, if I was asked to do it every year and then one of my friends who had been playing in my solo band tragically died all of a sudden, a natural reaction would be to get back and play while the six of us are still capable of doing it. And I'm sure they've helped look after Tim's family (as well as raising money for the Teenage Cancer Trust)so I wouldn't begrudge them of any earnings made over the last two years. Events like tonight show the love for their own work together as well as how much their home town means to them.
I enjoyed it and probably not much else to say apart from Tim Allcard hasn't changed at all has he. I see him around town quite a bit and always think 'that's Tim Allcard!'. I wonder if it will be on BB4 at some point given that they were keen to mention the whole BBC Storyville connection. It could be that the band will record the soundtrack for the telly. My favourite part was probably the bit in the munitions factory with Serafina Steer singing the Machine Room and also hearing Jarvis sing Stars On Sunday from the All Seeing I album. Oh, and, of course, hearing a brass band play Voodoo Ray by A Guy Called Gerald!
Hawley's got a lot of stick for slating Glasto elsewhere. I think he's been a bit misguided with his opinion on the fest and come off badly.
That gig sounds ace, wish I'd been!