MONEY Strike Gold With Majestic Nottingham Show
Manchester’s MONEY return to Nottingham with new album ‘Suicide Songs’ under their belt, bumping their pop sensibilities into more majestic, orchestral territory.
2013’s ‘The Shadow Of Heaven’ was impeccably well-received; its intricate pop tendencies belied a more tender or delicate nature, whilst its rich soundscapes were rather befitting of an acutely mysterious band with an un-googleable name.
Moreover, it was self-aware enough to fit firmly into a Manchester rock and roll narrative, yet never strayed into overly-grandiose Elbow territory or jangly guitar indie landfill. It was, to put it succinctly, a stunning piece of art – and this writer’s first experience of a MONEY live show, back in November 2013, more than did it justice.
Now, it’s been well-documented that lead singer Jamie Lee has had his personal problems since the release of this first album – namely drink and drugs – and, inevitably, its follow-up, ‘Suicide Songs’, focuses on this. And considering the title, it’s really quite a jolly affair, and a seemingly natural progression of the band’s sound.
Arriving on stage shortly after 9pm, we see the presence of a mini orchestral section (a cello and violin if this writer’s pitiful classic knowledge is not mistaken) and also the re-appearance of Nick (on bass) from fellow Mancunian support act Bernard + Edith. And, let’s be honest, before a single note is even played, everyone in the half-full Bodega knows that this is going to be great – there’s tangibly no pre-gig trepidation here. And it’s for this reason, potentially, that Lee greets the crowd with a languid self-confidence, treating them as friends rather than punters.
Lee kicks off proceedings with a new song performed alone: just him and a guitar. Eerie, almost threatening, chords are accompanied by Lee’s voice, which is soaked in swathes of reverb, and it is simply beautiful – any other adjective would be a lie. It’s a stunning start, shortly after which the rest of the band join him on stage.
Subsequently, the band plough through a set that samples mainly from ‘Suicide Songs’. “You Look Like A Sad Painting...” stutters and purrs poetically, while “I’m Not Here” has the distinctly uplifting feel of a traditional folk song. It must be said, however, that this writer’s highlights still come in the form of two older tracks: “Bluebell Fields” and “Letter To Yesterday”, the latter of which rumbles along with that unmistakably foreboding bassline.
The band finish with album-closer “Cocaine Christmas and an Alcoholic’s New Year”, an update on a Pogues song if I’ve ever heard one, and which leaves many in the crowd swaying arm-in-arm. Lee thanks his fans for sticking with him, and them, over the last couple of “difficult years” and with that they’re off down the Bodega stairs.
A suitably delightful gig from a band that could be on the verge of something special. A must-see if given the chance.
