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The tour begins with the good dose of nostalgia: Albert Hammond Jr., singer and guitarist of "Strokes", gives a concert in Munich between punk and entertainment.
It took some time to remember why an America was so important once. The contempt of New York is something that can reasonably be justified. This very basic aggression, hidden behind a demonstrative sausage and a vibrant irony. With that you could survive quite well in a city where you had actually arrived at the navel of the world and yet every day a fight remained. The singer and guitarist The Strokes Albert Hammond Jr. embodies him in his best form, although he grew up in California.
He was not really ready when he began his tour in the Munich Ampere. Evening rather amused. Jetlag and heat put it to. This did not prevent him from delivering a furious concert, which connected in particular The Strokes to the fact that the group of five musicians, with a note of punk staccady in eighth note, drew irresistible sound walls. And while singing, he has largely maintained that bad melodic direction for which the group was declared the legitimate heirs of Velvet Underground early in their careers.
Or at least their virtuoso epigones because Hammond Jr. and Julian Casablancas knew each other in a Swiss boarding school and the rest of the group in a New York pre-school, denying them any "streetcred", the Credibility of the street so essential to the authenticity of rock and hip-hop, It also did not help that Casablancas's father was the boss of the model agency Elite and Albert Hammond Sr. with hits as catchy as "It Never Rains in California" (for him), "The Air that I Breathe" (for Hollies ) and "One Moment in Time" (for Whitney Houston) win so much money that he can send his son to a Swiss elite school
The credibility of the street is no longer a criterion for Albert Hammond Jr. neither private nor musical. He has the drugs behind him, he is married and he writes great pop songs like "Muted Beatings", "Back to the 101" or "Losing Touch". They often do not last two minutes live. They do not need more than that to breathe a maximum of energy. He has heard a lot about his father's melody. The explosions, on the other hand, are highly audible rooted in New York in the late 1970s, Ramones Television or New York Dolls .
This can be a nostalgic Be approach. However, The Strokes was already proof that old ideas with Youth Fury and a lot more precision from the musicians may very well have a new momentum. For good reason, after their first album, "This Is It" from 2001, they were the engine of a revival of New York's post-punk scene for many years. The album had already appeared before the attacks, but then seemed to be a release from paralysis these days.
It is still too early for a nostalgia of the 2000s. Although the book "Meet Me in the Bath", named after a song The Strokes, is already a pop-historic reshuffle of the # 39, times when groups like the Yeah Yeah Yeahs Interpol ] or LCD Sound System . But it's not enough for everyone to get older. Nostalgia always includes the sense of well-being of looking back on an allegedly better era. But the urgency and anger of the things that led the music to September 11th are still up to date, if not more urgent and angry.
It's almost escape when Albert Hammond Jr. is in the crowd bathing, jumps on his drummer's drum, unleashes from one stage to the other in dislocations in X, as if it was a ritual of invocation for Iggy Pop and David Johansen. When he sings about life and the love of downtown. He gives the great entertainer behind the gesture and irony of postpunk. This can be an act of balance. But hardly anyone rules like him.
5. July Berlin, July 10 Zurich.
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