A CERTAIN RATIO + ELLEN BETH ABDI – CONCORDE 2, BRIGHTON 5.5.24
This week, one year ago, I wrote my very first live gig review for Brighton & Hove News, covering a seminal post-punk outfit from Manchester by the name of A Certain Ratio; these guys acting as the genesis for the now-regular camaraderie of live music experiences I’ve found myself engaging with some 52 live reviews later (side note: ACR also act as one of the only bands I’ve had the privilege of reviewing twice, alongside Divorce Attorney, Penguin Cafe and Divorce)! Last time I saw them at CHALK, the multi-instrumentalist core trio of Martin Moscrop, Donald Johnson and Jez Kerr celebrated the release of their album ‘1982’ with the aid of keyboardist Matt Steele, bassist Viv Griffin and singer Ellen Beth Abdi, the latter of which acted as the support act for the group’s Concorde 2 show on Saturday in support of their newly released record ‘It All Comes Down To This’. This show features the same line-up, sans Steele and Abdi, with Viv Griffin perched on the bass and backing vocals towards the back of the stage and Jez Kerr unfortunately seated for the performance due to ankle injury.
However, first up is the wonderful Ellen Beth Abdi, who has traded her ACR performing notoriety for a solo performance behind a Nord Stage keyboard and Casio synthesizer that captivates the ever-increasing Concorde 2 crowd. Before commencing, she gives her apologies for an apparent case of tonsillitis that plagued the possibility of opening for the tour’s previous two shows, as well as a lack of a backing instrumentalist who returned to Manchester due to uncertainty of recovery. These two disclaimers did not cease Ellen’s warm personality and heartfelt songs, five of which she graced us before ACR took to the stage. Opening with ‘Who This World Is Made For’, Ellen demonstrates an immaculate keyboard virtuosity, as well as a soulful voice that evokes the sounds of neo-soul artists like Jorja Smith and Sampha. Lyrically, the song’s delivery switches between various personalities of slow and sensual, and rapid-fire, almost checklist-pace sermons in subsequent verses. ‘Thickskinpeel’ is described as a song about the disturbing feeling about how missing women get reported in the news.
Instrumentally, the track features flavours of minimal drum beats and soft synth textures in a complete 180 spin from the soulful vibes of the previous cut. Despite the lovely array of synths and beats, it’s evident that this track would have benefited from the inclusion of Ellen’s backing musician…! We were treated to a song entitled ‘The Bad Dream’, performed entirely using a loop pedal and Ellen’s luscious vocal performances. The song is built around the phrase “tell me all about the bad dream you had about me”, on top of which she builds these lovely, airy vocal harmonies in acapella arrangement. Ellen takes a moment in the set to plug some merchandise, including a USB stick she auctioned that features unreleased music, as well as some homemade bergamot and rosemary flavoured marmalade! The samba rhythms of ‘Kingsway Bouquet’ feature drum machine textures that remind me a little of Trio’s ‘Da Da Da’, and some great rising chord progressions that take the song into rapture. Ellen bids us a fond farewell with the closing track ‘Problem Child’, which she describes as a letter to her 11-year-old self. The song has some beautiful chord changes on the Nord keyboard, sitting inside a nocturnal and comforting atmosphere that leaves the audience on a bittersweet high.
Ellen Beth Abdi:
Ellen Beth Abdi – keys, synth, vocals
Ellen Beth Abdi setlist:
‘Who This World Is Made For’
‘Thickskinpeel’
‘The Bad Dream
‘Kingsway Bouquet’
‘Problem Child’
Some time passes before A Certain Ratio, the Mancunian post-punkers themselves, make their way onstage to the disorienting backdrop of spoken word samples before commencing a performance of their latest record, ‘It All Comes Down To This’ in full, starting with the opening title track. This song features glitching electronics from Jez’s keyboard, with Martin’s guitar drenched in phaser. Donald and Viv ‘do the du’ as it were, by keeping a tight pocket in a stellar post-punk groove. Next, ‘Keep It Real’ sees Jez adding percussion from the sample buttons on his keyboard with Viv and Donald adding backing vocals and yells across the song. The set takes a more ominous flair on the track ‘We All Need’ with its discordant synth sequences and spoken word delivery from Jez. Also the ska rhythm that Martin provides on trumpet is a nice touch too! The slow trip hop groove on ‘Surfer Ticket’ continues to lower the tone with some distorted guitar waiting and a soft synth melody painting the song’s walls, while the droning bass and moody atmosphere of ‘Bitten By A Lizard’ act as the calm before the album’s storm-shaped second half. ‘God Knows’ kicks things into high gear with a more propulsive beat and uplifting chorus that hasn’t left my head since the gig before the linear ‘Out From Under’ stood as the most electrifying track on the album, with one of Viv’s best bass performances of the entire show.
‘Estate Kings’ is a very interesting detour in the performances as Donald takes lead vocal duties in the form of a spoken word poem that becomes quite captivating! The instrumentation in this song is more muted than the previous cuts, something that was definitely needed for Donald’s vocals to have more strength. The song ‘Where You Coming From’ is another fun number that sees usages of cowbell, harmonies between Jez and Donald, and an anchoring bassline that reminds me of Peter Gabriel’s ‘D.I.Y.’. Dedicated to American poet and writer Dorothy Parker, the track ‘Dorothy Says’ closes out the album’s performance with a nostalgia-induced chord progression and thought-provoking lyricism from Jez, with the quote “heterosexuality is not normal” ringing vividly through my mind. The beach-hat topped Martin and the International Rescue T-shirt-wearing Donald swap drum and guitar duties for an abridged rendition of the ACR classic ‘Winter Hill’, complete with shuffling snare rhythms, inclusions of cowbell and bongos, plus some weighty drones that complete tear apart the landscape. The crowd favourite ‘Do The Du’ is preceded with a pre-recorded praising clip from Johnny Marr congratulating the band for still being around today before they get deep into their funk grooves.
‘The Fox’, with its marching samba beats and brief moments of whistle and cowbell interplay, is an older A Certain Ratio track that cuts through the audience with integrity, even despite the song’s spoken word samples being significantly drowned out in the mix. Next, we’re treated to a cover of Talking Heads’ ‘Houses In Motion’, from their 1980 ‘Remain In Light’ album. ACR, of course, had the fortune to support David Byrne and company on their 1979 tour, so a cover such as this would always have to be on the cards! I must say, it is an excellent reinterpretation, especially regarding the funky guitarwork and drum machine claps, as well as Martin’s nonchalant trumpet lines replacing Jon Hassell’s iconic Egyptian-style wailing brass. Donald takes the opportunity to show off his slapping bass skills on the track ‘Touch’, with Viv hopping on the electric guitar for a lengthy jam that excites the crowd to no error. The less jammy ‘Berlin’ sees the glitter ball shining across the audience amid washes of driving guitar and bass before they head into the classic post-punk funk jewel that is ‘Samo’. Here, Martin takes a familiar solo where he scratches the inside of a hand-drum, something that remained staunch in my mind one year ago at CHALK!
Of course, A Certain Ratio had to pay homage to their dearly departed friend Denise Johnson, frequent singer with both ACR and Primal Scream, with a rendition of their classic ‘Won’t Stop Loving You’, possibly my favourite track of theirs. The song is a classic indie love song that goes toe to toe with Talking Heads’ ‘This Must Be The Place’ with some emotional melodies and chorus progressions. Next up, the song ‘Good Together’ sees some mutant disco flair coming into play thanks to its marching snares and chirping synth patterns, as well as an interpolation of ‘Good Vibrations’ by The Beach Boys that appears in the back end of the song. A classic cover of Banbarra’s ‘Shack Up’ begins to see the band out, standing as an outright iconic ACR performance with everyone in their groove pockets nicely, engaging in matching vocals of the title lyric. Martin thanks the crowd for coming to what appears to be their first Concorde 2 show since 2009 as he heads to the drums for the closing ‘Knife Slits Water’. A solid cut to end the set on, the band have swapped their instrumental duties for the last time with Viv on cowbell, Donald on the bass and Jez adding some kalimba textures before heading to an open-end piano solo that closes the track out. With no encore, the band leave the stage and the C2 staff assist Jez off in the process. I feel truly honoured to have seen ACR live already, let alone as my first gig review; it was only fitting that I got to cover them again to mark a year since I started! Long live ACR!
Check out A Certain Ratio on Bandcamp.
A Certain Ratio:
Jez Kerr – vocals
Martin Moscrop – guitar, trumpet, bass, drums
Donald Johnson – drums, bass, guitar, vocals
Viv Griffin – bass, guitar, backing vocals
A Certain Ratio setlist:
‘All Comes Down To This’ (from 2024 ‘It All Comes Down To This’ album)
‘Keep It Real’ (from 2024 ‘It All Comes Down To This’ album)
‘We All Need’ (from 2024 ‘It All Comes Down To This’ album)
‘Surfer Ticket’ (from 2024 ‘It All Comes Down to This’ album)
‘Bitten By Lizard’ (from 2024 ‘It All Comes Down To This’ album)
‘God Knows’ (from 2024 ‘It All Comes Down To This’ album)
‘Out From Under’ (from 2024 ‘It All Comes Down To This’ album)
‘Estate Kings’ (from 2024 ‘It All Comes Down To This’ album)
‘Where You Coming From’ (from 2024 ‘It All Comes Down To This’ album)
‘Dorothy Says’ (from 2024 ‘It All Comes Down To This’ album)
‘Winter Hill’ (from 1981 ‘To Each…’ album)
‘Do The Du’ (from 1979 ‘The Graveyard And The Ballroom’ album)
‘The Fox’ (from 1979 ‘The Graveyard And The Ballroom’ album)
‘Houses In Motion’ (Talking Heads cover)
‘Touch’ (from 1982 ‘I’d Like To See You Again’ album)
‘Berlin’ (from 2020 ‘ACR Loco’ album)
‘Samo’ (from 2023 ‘1982’ album)
‘Won’t Stop Loving You’ (from 1990 ‘acr:mcr’ album)
‘Good Together’ (from 1989 ‘Good Together’ album)
‘Shack Up’ (Banbarra cover)
‘Knife Slits Water’ (from 1982 ‘Sextet’ album)
