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the last of two
sold-out nights follows a timely reunion tour, the band's first shows
since splitting in 1996.
WELL, VOODOO
Dolly, it's so good to have you back where you belong. When
Siouxsie and Budgie resurfaced with the third Creatures album in 1999 it
seemed they had finally put the Banshees to rest. Perhaps partly
in the light of the liver-spotted cabaret of the Pistols' mid-90s
reunion, Siouxsie spoke distastefully of nostalgia: she and Budgie were
forging ahead with new music. So shouldn't this feel like a
capitulation? Because it doesn't - it's a glorious, celebratory
subversion.
From the intro
music onwards (10 minutes of Neu!'s Hallo Gallo, with lightshow) it's
clear the Banshees are a long way from the chicken-in-the-basket
circuit. This was a fan's show: only five songs post-1981, dotted
among chunks of '78 debut The Scream, '80's Kaleidoscope and
'81's inadvertent goth ur-text Juju. And if Steve Severin
looks amusingly matronly, the same can hardly be said of Siouxsie,
fabulous in fitted grey Armani pinstripe with black tie, stripping to
the waist after the riotous Cities In Dust to reveal a jewel-encrusted
bra. Let's be honest - how many punk icons would you want to see
semi-naked (except Paul Simonon, obviously)?
Budgie - easily
one of rock's most creative drummers, largely because of his non-rock
influences - is eternally lithe and feline; only erstwhile Psychedelic
Fur Knox Chandler betrays his role as jobbing guitarist, albeit amiably
so.
Freaks, androgynes
and - unusually for a UK rock show - visible gay men crowd the
auditorium. Isn't this, rather than a bunch of blokes standing
around in Stone Island cagoules, what rock 'n' roll was meant to be
about? As a host of new bands (many from New York) rediscover the
myriad, angular possibilities of post-punk, this brief reunion feels
like a long overdue reaffirmation of spiky outsiderdom, a history since
sidelined by a conservative musical/critical establishment, as even
former heroes (hello, Weller) join the pipe-and-slippers brigade,
slavishly espousing endless punk-never-happened trad tedium. Songs
of sensory overload are a Banshee speciality - Jigsaw Feeling,
Christine, Spellbound. Sensual, predatory, jagged - this is music
that threatens to destabilise the status quo, not confirm it, a
dangerous intoxication.
Up in the circle,
Severin's five-year-old daughter dances, arms above her head,
transfixed, as Siouxsie twirls through Happy House. How incredible
that for her this could be a beginning, blissfully unaware of the
betrayals of the intervening years.
David Peschek.
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