Mark Ronson,The Rumble Strips Live Review @ Apollo (Manchester) - 09 Feb 2008

Mark Ronson

Live Review

Things have levelled out for Charles Waller's Tavistock troupe, The Rumble Strips since the release of their buoyant, big-sounding, horn nudged debut album, 'Girls And Weather'. This offering has now been reduced to £5 in most typical music stores. They didn't comply with the sound of the time, but in their live shows they would demonstrate a deep appreciation for their roots, incorporating a kicking cover of Thin Lizzy's 'The Boys Are Back In Town' and have earned a reputation for being bold and genuine. Now that they have caught the ears of Mr Mark Ronson, things are looking up starting to take shape. Tonight they lean towards A full bodied pop with a less amplified ska base, in order to draw in a more mainstream following.

Rhythmic anthem, 'Alarm Clock' spews out defiance and laziness, as well as containing more of a horn thrust. Waller's vocals seem a little more polished and it is something that is contributing to the increasing applause, as they gain a tighter grip on tonight's demographically ranging crowd. Even though their debut album was released last year, this enthusiastic reception and a new found association with Mark Ronson. Could render 2008 the year that The Rumble Strips fully expand upon their enthusiastic, bold sounding, ska/psychobilly and slight folk base and fulfil initial expectations?

Tonight will hopefully provide a few more clues to answer the riddle of Mark Ronson? Is he a modern day John Peel or an idea stealing freeloader living off the legend of other acts? A varied and colourful backing band, going by the tag of Version, enters in dribs and drabs. Then a guitar yielding Ronson trots into view, the whole crowd shows how thoroughly pleased they are to see him. A Cypress Hill spirited rendition of Maximo Park's 'Apply Some Pressure' follows. Incorporating a funky and slightly street driven melee incorporating a brassy shunt, throbbing bongo kick and an upright bass led string slide adding a vibrant Friday night edge to the atmosphere. The way Ronson has orchestrated a string and brass section that achieves cohesion and produces a bracing combined thrust, eclipses the skills of the conductor of The London Philharmonic Band. He barely has to look at them all night, it is an impressive understanding he has built up with the Version and those who see him without them, have the right to feel short-changed.

An intriguing format starts to take place, a range of colourful guests including the experimental/hip-hop/pop styling of New York's Kenna, come on and perform one of Ronson's tracks, such as the muted R N' B striding 'Amy', in Kenna's case. Then Ronson and da Version will showcase some of the guest's material. Hence the Peel comparisons and it seems to work. Despite the fact that the crowd laps up the familiar reworks of contemporary classics, like the bellowing trumpet concealing cut of Coldplay's 'Clocks'. Kenna's 'Out Of Control' is delivered through an mid-tempo lounge funnel, so to contrast the laid-back approach the young New Yorker clambers upon the lofty and precarious speakers to strut his stuff. Swooning scouse enchantress Candie Payne catches the hearts of many of the crowd, through the defiant pop/soul cry out of 'One More Chance'. That was produced by tonight's host.

Regular guest Daniel Merriweather uses his lofty, but laid back vocals to give the country mingling lob of 'Chancer' a wistful feel. All the pre-gig pub rumours about Amy Winehouse flying up north are quashed, when Talia provides the soaring vocal thrust to what is, in effect, two versions of 'Valerie'. Each one has the whole venue on their feet and indulging in some spirited participation. Even the doleful guy towards the front in the Arsenal shirt shows agility and deft movement, something he sorely wanted William Gallas and company to do, just a few hours earlier at Old Trafford.

Natural finale of Morrissey's 'Stop Me' brings Merriweather back into the limelight. It caps an evening whereby Ronson lends weight to the view that his current role in music is unique and very important. He certainly knows how to produce and put on a show.

David Adair