Michael Hann

The last time Gillian Welch and David Rawlings played in London it was a different world: the world of David Cameron and Barack Obama and a Manchester United at the top of the Premier League. Welch and Rawlings have changed, too: Welch is silver rather than red, and Rawlings as grizzled as a bear. Welch was in brown floor-length dress and Rawlings in suede jacket and cowboy hat. With a rather younger upright-bass-player, Paul Kowert, the trio looked like farmers trying to save their land from The Man in some Taylor Sheridan TV series. And then they started singing. Welch and Rawlings have released records under their own names and as a pairing.

Before Simply Red came on stage at the Greenwich peninsula’s enormodome, the screens showed a clip of a very young Mick Hucknall being interviewed. What he wanted, he said, was to be a great singer. Usually, that’s the cue for a gag about fate having other plans. Not this time. He’s 65 now, and he truly is a great singer as he showed for the best part of two hours. He knows it, too. A couple of songs in, he benignly told his audience at the first of two nights at the O2 that he liked it when they sang along with the choruses, but maybe leave the verses to him. The person next to you, he explained, had come to hear him sing, not you. But not just hear – Hucknall is worth watching as well. Seeing him was like witnessing one of the great standards singers of the 1950s.

Lady Gaga’s show was to begin at 7.30  prompt, we were told. No opening act. And at 7.30 something did happen: the big screen over the stage started showing a film of Ms Gaga, clad in scarlet finery, writing on a scroll with a peacock-feather quill, while the PA played opera’s greatest hits. For more than an hour the film ran, an impassive Gaga doing nothing but writing. An hour. It was nearly as dull as a Paul Thomas Anderson film, and it’s a miracle it took 45 minutes for the handclaps to start ringing around the arena. Was she about to do a Madonna – who had to keep cutting short her O2 shows because she was about to break their curfew? In the end, no. Gaga just managed to end in time, but it was tight. And she won back her crowd.

I think a lot about Wishbone Ash. A disproportionate amount. Partly because I have had to listen to them for around ten hours while researching a book. Partly because when I was a kid, I always found it curious that Wishbone Ash were advertised in the weekly music press but never reviewed. Back then, broadsheets barely covered rock, so there was no room for their gigs and albums there. But they were never on Top of the Pops or The Tube or even Whistle Test  either. Perhaps Tommy Vance occasionally gave them a spin on the Friday Rock Show, but other than that they were not on Radio 1. They existed entirely outside of what I perceived of as the world of rock. At that point Wishbone Ash were 15 years on from their first album. Suede are 32 years on from theirs.

The last weekend of August is my favourite of the year. That’s when I pootle down to Cranborne Chase to the loveliest, most thoughtful festival in the UK. End of the Road is a festival for those who look at TV coverage of Glastonbury and see only the size and the heaving crowds and come out in a cold sweat. It’s lovely because it’s small – around 15,000 people. You can walk from the furthest campsite to the furthest part of the festival area in 25 minutes or so. If you’re not enjoying what you’re watching, you’ll be able to find something else within five minutes’ walk, via an array of bars without punishing queues.

I have nothing but admiration for those men who burn a candle for the music of 1966. Partly because, like them, I believe 1966 to be pop’s greatest year, but mainly because being a psychedelic hipster requires a commitment that invites ridicule. It’s one thing to be an ageing fella who likes rock’n’roll – sharp denim and a well-tended quiff can look just fine. And you can never really tell the age of a metalhead – they just look like a metalhead. But to wear your hair in an outgrown bowl cut, and to strut around in tight red trousers as Seeds singer Paul Kopf does, is inevitably to invite catcalls of ‘Oi, Austin Powers!’. You have to really believe in it to go through life like that.

You’d have thought Wembley Stadium was a sportswear convention, so ubiquitous were the three stripes down people’s arms from all the Adidas merch: veni, vidi, adi. Pints drunk: 250,000 a night, apparently. All along the Metropolitan line pubs noted an Oasis dividend. At a corner shop, I was sold an official Oasis Clipper lighter. It’s surprising Heinz hasn’t yet offered an Oasis soup; you get a roll with it. Plainly, an awful lot of people have missed Oasis. And an awful lot of people – Noel and Liam Gallagher included – saw the chance to make an awful lot of money from their reformation. I don’t think any of them – neither fans nor entrepreneurs – will have been disappointed. At Wembley, the atmosphere was remarkable.

The highs of Stevie Wonder’s Hyde Park show were magnificently high. The vast band were fully clicked into that syncopated, swampy funk, horns stabbing through the synths, the backing singers adding gospel fervour. And Wonder – now 75 – sang like it was still the 1970s, his voice raspy one minute, angelic the next. Anyone who heard that phenomenal group play ‘Living for the City’ or ‘Superstition’ and didn’t feel ‘ants in my pants and I need to dance’, as James Brown once put it, should resign from life: they do not deserve such joy. That said, there were oddities. We were blessed with visits from four of Wonder’s nine children, two of whom were given whole songs to sing while the great man had a breather, as were three of the backing singers.

Ozzy Osbourne and Black Sabbath did something British groups had not done before. Before them, the British Invasion groups – from the Beatles, the Stones and The Who down to Herman’s Hermits and Dave Dee, Dozy, Beaky, Mick and Tich – had taken American music and sold it to the British public as the American dream, as exotica. And when they exported it back to the States, the Americans – most of whom had never heard the music the groups began by copying – heard in it something fresh and exciting and joyful. Sabbath instead sold the American nightmare back to the United States, filling arenas across North America, a much bigger concert draw there than at home.

We all know, at heart, that economic theories of rational behaviour are rubbish. And that their application ruins so many areas of life. Football supporters, for example, are not ‘customers’; they are supporters. They are at the club before a new owner arrives, they remain there after that owner leaves. In the meantime, they do not make rational decisions. They do not, when QPR are rubbish, pop across west London to support Chelsea, though it might be the economically rational thing to do. Same with pop. I’m a music fan more than I am a customer.

If, as is said, there are only seven basic narratives in human storytelling, then there should be an addendum. In rock and pop there is only one: the dizzying rise, the imperial period, the fall from grace (either commercial or ethical, sometimes both), and the noble return (historically prefigured with a glossy music mag cover proclaiming: ‘Booze! Fights! Madness! How Rubbish Band went to hell – and came back’). All three were on view in London this past fortnight. Waxahatchee was the one on the way up: this was, Katie Crutchfield announced proudly from the stage, the ensemble’s biggest-ever show. Dua Lipa was the one entering her imperial phase – her first Wembley headline, with a production to match.

What could it possibly feel like to be a sportsperson who gets the yips? To wake up one morning and be unable to replicate the technical skills that define you. To suddenly find the thing you do well absolutely impossible. Golfers who lose their swing, cricketers whose bowling deserts them, snooker players who can’t sink a pot. Stage fright – something both Robbie Williams and Cat Power have suffered from – is much the same. Williams took seven years off touring last decade because of it, which must have been devastating for someone whose need for validation is so intense that he has made it his brand.

No one who went to see Bruce Springsteen’s Broadway residency a few years back came away disappointed because they knew what they were getting: a tightly scripted show, in which there was more speech than music. The country star Eric Church – who made his name with a single called ‘Springsteen’ – appeared to have been taking notes, for that was the model for his ‘residency’ at the Albert Hall. All that he lacked was the tight script – and Springsteen’s charm and charisma. It was, the MC told us, Church’s first time in the UK in eight years, but the place was horribly undersold, the top tier almost empty and spaces all around the stalls.

Young male singers won the right to be sensitive in 1963, when The Freewheelin’ Bob Dylan was released. And in the 63 years since, being young and vulnerable and questing has been one of the great default settings. I’d say you can’t go far wrong singing sadly about your feelings, but of course you can, as the great mountain of discarded troubadours proves. Yet the size of that rejects mountain also tells us how alluring the prospect of baring one’s feelings to strangers can be. Zach Condon, who works as Beirut, and Dove Ellis are at different points on the sensitive young man spectrum. Condon is 39 for a start, so the young bit doesn’t even hold true.

The most compelling character in the newish documentary One to One: John & Yoko isn’t either John or Yoko. It’s one A.J. Weberman, inventor of ‘Dylanology’ and ‘garbology’. He’s shown practising both in the film, rummaging through Bob Dylan’s bins for clues to the thought process of genius.  Fifty years on, two things struck me. The first is how odd it is that Lennon and Dylan would let someone as obviously potty as Weberman anywhere near them. The second is that everyone is now Weberman. Think of the Swifties who decode every missive from Taylor; the fanatics who obsess over the sexual antics of boy bands based on convoluted readings of song lyrics; and people like me who spend wintry Saturdays driving around the Jersey shore visiting Springsteen locations.

Can we talk business for a moment? When reviewers like me go to big arenas, we get the best seats in the house, with fantastic sightlines and excellent sound (a PR who used to work for U2 told me she would routinely reassign press into even better seats than the already splendid ones they had originally been given; you do anything you can to get an extra 1 per cent more enthusiasm into the review). When we go to standing venues, though, we are as prone to the vagaries of geography as anyone else. And because we go to a lot of shows, we tend to arrive only five minutes before the turn we want to see goes on stage, which means we rarely find great positions.

Midway through their thoroughly entertaining show at Wembley Arena, the Darkness played a song from a decade ago called ‘Barbarian’, about Ivar the Boneless and the Viking conquest of Britain. ‘Barbarian’ exists in a long tradition of men with long hair, tight trousers and loud guitars singing about our Danish friends. Led Zeppelin did it on ‘The Immigrant Song’: ‘The hammer of the gods/ Will drive our ships to new lands/ …Valhalla, I am coming!’ Iron Maiden did it on ‘Invaders’: ‘The smell of death and burning flesh, the battle-weary fight to the end/ The Saxons have been overpowered, victims of the mighty Norsemen.’ Scores of others you are less likely to be familiar with have, too. The Viking anthem is a rite of passage in hard rock.

Touring’s not what it used to be. When I were a lad, even big bands would do 30 or 40 shows around the UK to promote their new albums, stopping in places such as Chippenham Goldiggers, Hanley Victoria Hall, Ipswich Gaumont, Preston Lockley Grand Hall that would only see a major act today if they happened to need a local motorway services. Those days are gone. If you’re a superstar, you’ll do a handful of arenas in a few big cities. And if you are not a superstar, you might not even tour your new album at all, at least not in the old sense.

No truth is more self-evident than that there are those whose best emerges only when they are paired with others: Lennon and McCartney, Morecambe and Wise, Clough and Taylor. And it’s perhaps even harder for a behind-the-scenes collaborator to step out in their own right. Jack Antonoff, for example, is one of the creative powerhouses of modern pop: he co-writes and produces songs for Taylor Swift, Lana Del Rey and Lorde, who plainly regard him as intrinsic to their success. His work probably reaches more ears than any other songwriter on Earth. But when he writes and produces those songs for himself? The magic vanishes. The band he fronts, Bleachers, are popular, but no more popular than any other indie rock band that listens to Springsteen.

There are nights when one realises quite how much effort the business end of showbusiness must be. On a bitterly cold Monday night in Philadelphia, Lauren Mayberry – over from Glasgow, and halfway through a month of criss-crossing the USA – took to the stage to survey a crowd of maybe 500 people, in a venue that holds 1,200. A good proportion of those 500 people were just like me: middle-aged men. We have every right to be there, of course, and one suspects Mayberry was glad they bought tickets. But I bet she was disappointed some of the remaining 700 or so tickets had not been bought by young women, for this is who this show is for.