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I'd initially written off Art Brut for their bedsit preciousness butwas finally starting to embrace them for embodying the spirit of late'70s/early '80s British punk, the inept rather than the angry strain.My interest was rewarded by their energetic performance at the MiddleEast last Friday. What they lack in technical competence they more thanmake up for in enthusiasm and bravado. Their absolute commitment to thematerial and the performance outweighed any bum notes.
In nod to the show's location, they opened with a cover the ModernLovers' "Roadrunner," and kept on running. These are no poets, andtheir songs were very literal with a focus on the mundane, an everydayexistence that includes love of music and comics. Both the subjectmatter and the style of the backing vocals was reminiscent of theUndertones. Had they done a straight cover of "Mars Bars," thoseunfamiliar with the original would easily assume it was their own nextto songs like "D.C. Comics and Chocolate Milkshakes."
Freddy Feedback's bass lines gave a nod to the Fall, although EddieArgos's voice suggested sinus infection rather than dentist's drill, asdoes Fall frontman Mark E. Smith's. It was an exuberant rhythm section.Mikey Breyer played his drum set standing up because he appeared tooexcited to ever sit down. Feedback looked like she'd developed muscletone in her cheeks from grinning so much at the shear delight inplaying in her band.
They already have their own version of "Hey, Ho, Let's Go!" in "ArtBrut. Top of the Pops," which the crowd started chanting until the bandreturned for an encore. They obliged with "Slap Dash for No Cash," inwhich they self-referentially praised their own brand of ramshacklerock and roll and made a convincing argument for its value.
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