Wolverhampton Civic Hall , Monday 25th October 2004 .
Minnie Driver has recently lambasted critics that gave negative reviews to her album, and on tonight’s performance, you could understand why there would be some negativity from some. Because she’s an actress, and a celebrity, they expect her to set our world on fire. To offer profound insight into human condition: to have a message in her music, or some endlessly quotable statement to become the mantra for women everywhere. Sadly, it is not.
It is however tuneful, melodic and meshes a variety of styles in her songs. Influences range from Sharleen Spiteri soul to Zero 7 to balladry with tinges of Country to Sheryl Crow to Norah Jones. Closest comparison however is to soulful Spiteri (before she recruited rappers in a vain attempt to be hip), and in mature songwriting, she surpasses Jill Jackson, formerly of Speedway, hands down as the next best thing to Shazza. Minnie Driver is an average fish in large pond of mature MOR singer-songwriters, but she’s here as a fan of the Finns, and manages to acquit herself quite nicely supporting her ‘heroes’.
Neil started up Crowded House, and by Third album Woodface (which is actually the literal translation of the French word for hangover), he returned the favour, bringing in Tim to co-write songs, and tour with the band. Tim has also showcased his own stuff in Crowded house’s time, and in between fourth album Together Alone and the bands final show on Sydney Opera House in 1996, The Finns collaborated to produce ‘Finn’. Neil had two exceptional solo records in “Try Whistling This” and “One Nil” (One All in the US).
The tragic death of long-time musical and inspirational mother Mary provided the impetus for galvanising the pairing once again to lead to an intensely personal and emotional record; “Everyone is Here”. Tonight is all about showcasing the new record, but also to reward those fans who have remained loyal to the superlative songwriters in their various guises over the
years.
The Finns seem to be a breed of songwriter being phased out by the reality TV phenomenon. Here, they’re treated as legends, and are more than willing to acknowledge the loyalty shown in the current climate. Opening their portion of the show, we are treated to home movies illustrating the importance of family - a theme forming the backbone of this, their tribute to their dearly departed mother.
First single “Won’t Give in” opens proceedings brightly, and irony descends through lapses in concentration and technical difficulties forcing four tries of Anything Can Happen. The Brothers complement each other in harmony and in personality. Tim is more sincere in between songs, but more animated in performance. Neil is more reserved in performance, but has the dark rapier wit to engage the audience in bouts of laughter. He unfortunately is put up to give the local Black Country greeting, “’Ow am ye?” to the expected Pavlovian cheer from the audience. Imagine what he’d have got if he’d have said “Ar, Bostin!”.
Most of the set is geared towards the new record. There are a handful of requests taken; opportunities to delve into the recesses of the Split Enz back catalogue, and old favourites from the Crowded House era. Message To My Girl and I Got You are interspersed amongst old friends Four Seasons in One Day, Weather with you, It’s Only Natural and Better Be Home Soon, and return again to Split Enz with Haul Away and I See Red. The New ones hold up well. If this were a party, they would be worthy guests amongst reliable perennials, and reputable classics.
We also have a brief foray into the first Finn record with Where is My Soul, an obscure demo pops up in the encore written in the seventies, and Beatles cover Rocky Raccoon. Requests for My Telly’s gone bung (“That’s Paul Hester, man. I can’t do justice to that”) and Prodigal Son (“Ah, the obsessive. Go home to the parents.”) are rejected by Neil, and shouts for Hole in the River, Last Day of June, and Don’t Dream it’s Over are left without acknowledgement such in the span of their excellent writing record, and the timeframe to work within.
Topics covered during the concert include a swipe at the hype over talent emphasis of Pop Idol - Neil commenting on a lady’s ‘hermaphrodite sounding voice’ being perfect to make even Simon cower, the similarities in change to our home and their home in Te Awamutu (though no doubt applies to other areas of the UK), and stories regaling previous times in the UK; writing experiences, and inspirational people met over here.
They are thankful for the turn-out on such a grim Monday night - proof positive in their words ‘there’s always an audience for good songwriting’. We, the audience, are in turn for their years of service. Tonight has been a joy to watch the boys from Te Awamutu, as I tick off another name of my list of songwriting legends seen live.
Craig Aston.
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