The Vaselines at Lincoln Hall
Eugene Kelly and Frances McKee, the songwriting duo behind The Vaselines, spent the majority of their time as a band toiling in obscurity. During their initial three year run as a band in the late 1980’s, a minor cult fanbase developed far from their native Scotland, in the fertile Pacific Northwest music scene, where bands like Beat Happening, Mudhoney, and, most famously, Nirvana, drew influence from their shambling, childish indie-pop. The band broke up rather unceremoniously, and Kelly and McKee moved on to other projects. The Vaselines laid dormant for over a decade, until a short run of reunion sets evolved into a full-on tour. The Vaselines finally released a second album, Sex With An X, in September, a full 21 years after their debut LP, Dum-Dum.
2010 finds the band in a strange place. Fans are still getting used to the fact that they’re back, while Kelly and McKee are understandably a bit anxious to play songs that were written in this century. Their US tour in early 2009 was, by all means, a success; a stop in Chicago found the band playing old tunes to a room full of folks who probably didn’t get to catch them the first time around. Last night at Lincoln Hall, The Vaselines were happy to combine old and new material, making for an eclectic, well-crafted performance.
A quick glance at the set list reveals the methodical way in which the band has approached touring with new material. They’re clearly aware that some fans might have not heard the new album, and their set took those less-prepared members of the audience into consideration. The 22-song set list featured the strongest tracks from Sex With An X, but always followed a new song with one or two old favorites.
Much of the new album lacks the fey charm that makes their older material so endearing, but onstage, these tracks fit in well with their classic counterparts. Sandwiched between twee-pop gems “Rory Rides Me Raw” and “Sun of a Gun,” Sex With An X opener “Ruined” was the strongest of the new tracks performed; an explosive song that juxtaposes upbeat guitar and cheery vocals with cynical, sometimes downright pissed lyrics.
Listening to the band’s early recordings, it’d be hard to imagine The Vaselines would ever sound as precise and skilled as they did last night. Part of their charm comes from the half-learned guitar parts and hesitant vocal stylings of tracks like “Son of a Gun,” one of the band’s best-known songs (thanks to the admittedly awesome Nirvana cover). Live, the track’s simple drum beat evolved into a driving, krautrock-style stomp that complimented the huge guitar sound from the band’s expanded lineup, now five members strong. The group’s transformation from scruffy perverts into a full-on rock band was a little unexpected, but a pleasant surprise.
The Vaselines always enjoyed mixing their amped-up, two-minute sugar rushes with deliberate dirges that seem to drone on for ages (in the best possible way). “No Hope,” a sparse, reverb-laden lament featuring self-loathing lyrics from the perspective of an alcoholic with an interchangeable gender. The band let the song stretch out and lay waste to good vibes, conjuring an intimidating atmosphere where that darkness lying beneath the band’s sugary demeanor comes out and rears it’s head, before retreating again into the depths of pre-pubescent sexuality.
Between songs, Kelly and McKee gleefully indulged in their naive, sex-obsessed personas, offering up innuendo-laden comments about various members’ birthday presents and McKee’s duties as the only female on the tour bus. Earlier in the day, the band stopped by WBEZ to play in-studio, and had to censor themselves in the chorus to the nostalgia-damning, S-word dropping “I Hate The 80’s,” which inspired a lengthy discussion of the band’s “old shit” vs. their “new shit,” and their regrets over not including other favorite words like “gobble” and “wank” in their song lyrics. The band seemed genuinely happy to be on the road, which is always nice to see.
Over the last ten years, the reunion tour has undergone a sort of renaissance. Moving from what was once seen as a cash grab by washed-up rockers in need of an ego boost, this most nostalgic of rock ’n’ roll tropes has been embraced by indie rock groups whose career trajectory just missed the advent of the internet. A reunion tour might trot out a best-of live show, playing old favorites (and the occasional deep cut) for fans; this more traditional approach has been taken by everyone from The Beach Boys (featuring John Stamos!) to Pavement. Other groups take advantage of the good will built up from years of absence, write a new album, and take another shot at full-time bandhood. Thankfully, The Vaselines have combined both approaches, making for an experience rewarding for the band and longtime fans alike.
