WORDS: Matt Catchpole IMAGES: Sam Wells
Many music writers, this one included, have incurred the wrath of Anton Newcombe for daring to mention Dig! – the 2004 documentary which simultaneously made and purportedly buried Brian Jonestown Massacre.
Yet while friends and competitors The Dandy Warhols were portrayed as undisputed winners at the end of that film – it’s Anton’s band who marches on with a 20-plus album career and a fanbase big enough to comfortably fill Brixton Academy.
You’d think then that if he had an “eff you” to deliver it might have been directed towards Dig! director Ondi Timoner, but tonight it’s his mother in the cross hairs.
“Man, this is awesome!”, Newcombe pronounces after shuffling on stage looking like a cross between Neil Young‘s younger brother and an extra from a Sergio Leone Western.
“Mom you said I’d never amount to shit, but I’m here headlining this place and you are dead. Who’s laughing now.”
There’re some nervous chuckles, not least amongst his fellow band members, but with an opening gambit like that you could be forgiven for wondering exactly which way this is going to go.
In the event, there are few fireworks, Anton is evidently in a good place, his spirits boosted by the impressive turnout.
Despite temperatures more akin to the North Pole than sunny San Francisco, his tribe have turned out for him.
Many are wearing outfits and beards straight out of Haight-Ashbury in the ’60s, while some girls at the front literally have flowers in their hair.
There’s a good mix of ages too, underlining the enduring appeal of this most mercurial of acts.
With Joel Gion – ever present on tambourine and maracas for 30 years – front and centre, Anton takes up his familiar position slightly off to the right.
What follows is a proficient and well received performance of highlights spanning the band’s remarkable career.
And at the best part of two hours, we certainly get our money’s worth.
While there are some lengthy stoppages – as the band’s four, yes four, guitarists twiddle knobs to retune their axes – BMJ are pretty tight.
Anton calls the shots, directing proceedings from a lectern like a fallen priest, keeping his floppy-haired Byrds-alike lieutenants in line.
Live it’s immediately apparent why Anton’s been able to carve out his own niche and retain such a devoted fan base.
He has a gift for melody and conjures mini symphonies of strumming – enveloping the hall in a warm wash of noise.
While his best known songs like Anemone – are welcomed with cheers of recognition – individual tunes seem less important than the overall vibe.
Some might quibble that it’s all a little too one-paced and the songs tend to blur into each other, but that rather seems to be the point.
Anton often wanders from his spot out right to join the other musicians in a circle at the centre of the stage. iI’s all rather organic and disarming, almost like a spiritual experience.
At times the droning guitars are slightly sinister, like a countrified Velvet Underground, or The Stones at their most Satanic.
At others it’s more mellow and intimate, akin to a fireside singalong – a not inconsiderable achievement in a hall the size of the Academy.
Anton is clearly enjoying himself, even deigning, on occasion, to turn and face us directly.
“I don’t usually look at the audience,” he admits, “But I’ve made it through quite a few songs tonight looking forward.
“You guys are very good looking…..Now I’m distracted.”
For someone oft criticised for being aloof, he seems genuinely moved and grateful that a band with relatively little airplay can still attract such a large audience.
“Thanks for buying a ticket, or for buying someone else a ticket and coming out tonight,” he declares at one point. “I’m so happy, this is so great.”
Anton Newcombe – for all his influences – is a singular artist who creates his own world.
Seemingly regardless of commercial considerations, he forges his own path and it’s up to you to decide if you want to follow him down it.
He found plenty of willing followers in Brixton tonight.
Now what would his mother say?
- Brian Jonestown Massacre’s latest album The Future Is Your Past is available via A Recordings review here
- Paralell a collaboration between Anyon Newcombe and Dot Allison under the monicker All Seeing Dolls is out now
- BMJ tour Europe in May – full details on their website
- In The Jingle Jangle Joel Gion’s autobiography was released in 2020 more details here
