3D and Daddy G unite for a jagged Karmacoma
Stephanie Dosen in front of the “mothership” barrage of lights
It is the curator’s privilege to play at their own festival. Massive Attack play twice during the Meltdown and this is their second night. At this juncture you would expect them to be relaxed and flowing. This years Meltdown is nearly over. It’s all gone fantastically well. So is the cup half full or half empty? Judging by 3Ds first words to the crowd the “jitters” have multiplied rather than subsided. He acknowledges the ‘embarrassment of riches’ he has witnessed throughout the Meltdown and admits to feeling even more nervous about this concert than their first here. This is also magnified by knowing that many of the performers at the Meltdown are also here this evening watching Massive Attack in action.
Although they acknowledge feeling nervous this is a convincingly surefooted and ostentatiously exuberant experience. In spite of the setlist heavily featuring new material tonight is probably the best that I have seen Massive Attack play. The venue helps greatly. Acoustically the Royal Festival Hall lacks serious competition in the popular music arena. The subtleties and nuances of their sound are allowed to flourish. Even sat right at the back the sound swoops and soars in an audaciously pleasing manner.
The predominance of new material does unbalance the performance and relies on the audience’s appreciation and prolonged patience. After the mutedly disappointing 100th window is it needless wishful thinking to hope for a return to Mezzanine’s masterly form? The initial signs are not great. The first new song uses Stephanie Dosen in a swirling ethereal song. Intriguing but not world changing and hardly epoch defining. The next song (apparently called Marooned) steers unnervingly close to 100th Windows flawed blueprint. An atmospheric, intricate backbeat is accompanied by a tuneful but drone like 3D rap. All very pleasant, All very monotonous and non-descript. Thankfully the rest of the new material has more visceral soul and clout. Heavy use of Stephanie Dosen’s serene siren vocals is made throughout. Not knowing the titles of songs makes it difficult to identify the specifics but the 2 highlights (And very hopeful highlights at that) were a 3D and Stephanie Dosen duet which sounded lyrically like a Guantanomo bay love song (the repeated refrain of can’t eat/ can’t sleep was divinely catchy) and a Stephanie Dosen song which seemed to be about air travel. This song had huge airport lounge information screen visuals dominating. The overall feel of the new material was more female dominated and lushly orchestral. (A string quartet came and went as required).
One inescapable facet of a Massive Attack concert is the constant shuffling of personnel. (Will it be Horace Andy, will it be 3D, will it be Daddy G or either of the 2 female vocalists, will the mini orchestra join them or will they all somehow combine) This fractured nature and revolving door policy does stifle the atmosphere yet also add to the mystique. It also allows the viewer to speculate (based upon who walks out on stage) what the song will be. It is pretty much a sure-fire bet if both Daddy G and 3D appear together then it will be for a Mezzanine song (or perhaps Karmacoma). This rule of thumb holds up well tonight. The other high probability is that if 3D and the soulful singer appear together near the end of the set that its time for “Safe from Harm.” These handy algorithms hold true tonight.
It is notable that the majority of the “old material” played stems from Mezzanine. Perhaps this is to give Daddy G a role to play tonight (e.g. on Risingson and Mezzanine) or perhaps, more realistically, they realise that these are the bands finest and most cohesively brilliant moments (e.g. Teardrop, Angel, Inertia Creeps). Both “Safe from Harm” and “Unfinished Sympathy” sound like a different band. They are remarkable and robustly undimishable.
Vision (9/10): Although this performance was Mezanine encased, focused and (arguably) arrested, they know their strengths. The new material also plugs into the Mezanine soundscape and regains the soulfulness patently absent on 100th Window
Ability to execute (9/10): The warmth and depth of sound at the royal festival hall is matched by the intricate dynamics of Massive Attack’s performance. A beautiful noise indeed. Exceptional use of guests vocalists and the re-integration of Daddy G pays bounteous dividends.
Crowd symbiosis (7/10): Strangely muted. Appreciative rather than ecstatic.
Would see again: (8/10): Always a convincing prospect live. Buoyed by the strength of the new material they move from a pretty definite to an absolute must.
