About halfway through The Struts’ adrenalised Shepherd’s Bush Empire show, Luke Spiller introduces a brand new song, never played to an audience before. It’s a risky move, especially considering the momentum they’ve built up by this point. But, from the opening salvo of “Oh oh-oh oh oh oh oh oh”, Spiller has the bouncing crowd chanting and clapping along as if it’s We Will Rock You.
The gleeful, instant response shows off The Struts’ knack for writing and performing unapologetically direct, catchy, feel-good original songs that somehow sound like long-lost rock classics. It also shows the singer’s ability to connect with crowds. From the moment he glides onto the stage, shouts “Jump!” and preens through Primadonna Like Me (“Hey you, Don’t you know who I think I am?”), the frontman seems to be auditioning for the role of greatest living showman.
Moving with all the grace and poise of someone who, as a child, imitated Michael Jackson in front of a mirror, he fully commits to one tried-and-tested rockstar move after another. It works. His repertoire — above-the-head clapping, raised jazz hands, reaching out with microphone in palm, cupping hand to ear, come hither gestures, running hands over torso, and stationary hands-on-hips poses — forms a direct, almost primal, connection with the audience. With just the flick of a wrist he can get 2,000 people to sing louder, cheer harder, clap faster, or jump higher than they already are.
Truth be told, the fans have been raring to go from the moment Cardinal Black take the stage. Not as outlandishly theatrical as the headliners, with songs that aren’t quite as immediate, the quietly confident support act still have no trouble winning over an already almost-full venue. Songs like the smoky Tell Me How It Feels and frisky Where Do You Go? emphasise the soul in Tom Hollister’s voice and tasteful sophistication of guitarist Chris Buck’s playing.
While it’s obvious they’ve got the talent to show off shamelessly, both are clearly in service of the songs. Take the elegiac Jump In. Over a gentle groove laid down by drummer Adam Roberts and stand-in bass player Will Davies (covering for Sam Williams), the warm, heartfelt vocal and liquid guitar riff intertwine perfectly, creating a dark yet beautiful mood. As the track builds in tempo and intensity, complemented by delicate flourishes from touring keyboard player Greg Hollister, the vocals soar and Buck unfurls a solo so calm yet majestic that it would impress even David Gilmour.
In a previous band 12 years ago, Tom Hollister, Buck, and Roberts were championed by Steve Winwood and legendary Guns N’ Roses manager Alan Niven. By the time their new group reach the end of rising-and-falling 10-minute finale Tied Up In Blue, it’s bleedingly apparent how, within the space of a year, they’ve already been shared on social media by Slash as well as toured with Myles Kennedy and, now, The Struts on their Homecoming tour.
Playing against a Union Jack backdrop, the headliners are visibly as thrilled as their fans to be playing their first UK tour in almost three years. From the moment a siren signals the start of their euphoric set, it’s not just Spiller who’s all in. Even after ten years together, guitarist Adam Slack, bass player Jed Elliott, and drummer Gethin Davies play with such flair and joy that you can’t help but be carried along. Body Talks stomps like the early ’70s. Kiss This remains the ultimate kiss-off. The glittery I Hate How Much I Want You is a glam celebration. Fire – Part 1 has all the excitement of a high-speed car chase. One Night Only, with Spiller on piano, is almost as close to classic Queen as Brian May, Roger Taylor, and Adam Lambert are.
The hip-shaking Dirty Sexy Money makes way for the exuberant Are You Falling With Me (that never-heard-before forthcoming single), before Low Key In Love offers a touch of quiet romance (even without the glossy sheen of the original featuring Paris Jackson). A tender Mary Go Round, with Spiller backed by Slack on acoustic guitar, is unplugged in almost every sense — with the venue lights turned off, Shepherd’s Bush Empire is momentarily lit up by mobile phones. Tonight’s performance shows off the singer’s vocal range and power, as do the a capella opening lines of Put Your Money On Me (capped by audience shouts of “Oh yeah”), a hip-shaker that gets the good times back on track.
An equally raucous medley featuring Put Your Hands Up (does exactly what it says on the tin), beefy These Times Are Changing, stadium chant Bulletproof Baby, snarling All Dressed Up (With Nowhere To Go), chest-thumping Only Just A Call Away, and rousing Where Did She Go is dedicated to the “familiar faces in the audience” who’ve “been following us for a very long time”. A dynamic, breathtaking rendition of Wicked Game somehow adds even more drama to the Chris Isaak original, before a fierce Wild Child brings back the bombast.
By the time garage rocker I Do It So Well rolls around to wrap up the main set, Spiller still has some tricks up his flowing purple sleeves. In the space of just one song, he splits the audience in half to see who can cheer louder; has the crowd echo his vocal ad libs; and gets everybody to crouch before leaping up in unison. Nothing new, but, just like his moves, they work — and inject a sense of fun so often missing from rock shows.
Kicking off the encore, the sweeping title track of 2020’s guest-loaded Strange Days injects some melodrama before the eruption that is Could Have Been Me. By the time it’s all over, almost everyone in the stalls is as sweaty and smiley as Spiller, who extravagantly rubs his towel between his legs before tossing it into the crowd. It’s one last rockstar flourish from one of the last rockstars.
The Struts | Cardinal Black
Shepherd’s Bush Empire, London
14th July 2022
Photo: Simon Reed
- This article originally appeared on Louder Than War.
Nils van der Linden 