In Review: XOM’s classic Rockyoke
Part Three: Another Overload
The Boar’s Head, Kidderminster, 23 March 2019
Kidderminster, described by Pevsner, the art and architecture historian, as “uncommonly devoid of visual pleasure and architectural interest”, can claim some musical heritage as part of the Midlands scene. Robert Plant played some of his early gigs here, attending King Edwards Grammar School in nearby Stourbridge, and went on to buy a farm just outside the town. Robbie Blunt, a Plant collaborator, also has connections with Kidderminster. Stan Webb, front man of the blues band Chicken Shack, and rhythm and blues singer Mike Sanchez, both lived in Kiddie – as it’s known locally – as well as Ewan Pearson and the late Tony De Vit, prominent producer-DJs.
Enhancing this history, or at least not disgracing it, XOM made their Spring 2019 sing-along appearance at The Boar’s Head, a pub in the town which has distinguished itself as a live music venue and art gallery.
I’d last encountered the band for their Stirchley Christmas Sing-along, at the end of a stressful year. This spring event found me in a happier place. I had just finished a rewarding, but rather exhausting stint performing in Birmingham Opera Company’s acclaimed production of Shostakovich’s Lady Macbeth of Mtsensk. With my birthday coming up, I was sorely in need of a knees-up, and where better than a town seven country miles from my birthplace?
I encountered the band in the beer-garden, and was warmly welcomed, with the caveat that the sound-check had been problematic. As the band took the stage, Mr Sandilands warned us to expect high volume.
They began reprising the encore from winter’s solstice, Linda and Paul McCartney’s Live & Let Die (probably not my favourite Bond theme but certainly one of the better movies), followed by U2’s Vertigo. If these were intended as two belting crowd-pleasers, they were followed with two perhaps lesser known songs.
XOM performed Queen’s Now I’m Here, written by Brian May. It was originally released after Queen’s breakout ‘power pop’ hit Killer Queen. Freddie Mercury felt Now I’m Here
was just to show people we can still do rock ‘n’ roll – we haven’t forgotten our rock ‘n’ roll roots. It’s nice […] I enjoyed doing that on stageFreddie Mercury,1976 (cited on Queenpedia)
By this point I was dancing my heart out. In the opera I’d had a chance to try out what I hesitate to call pole dancing (see video), but the Boars Head venue had these pillars that seemed ideal for developing that particular art. And so the next song, Elbow’s Mirrorball, had me using them to help me dance in the most seductively responsive way I could muster.
I was not familiar, or even aware of Elbow and their music until this point, which reiterates the point I made in my first review:
good artists lead and educate an audience as much as merely entertainhttps://words.korvin.org/2019/xom-and-the-question-of-music/
So it was good to see XOM continue to vary and diversify their set. This to me unknown, ethereal song captured me, so beautifully played and sung.Continue reading “XOM and the question of music, part 3”