Monday 11 March 2013

Jake Bugg @ The Academy

If you are to listen to the remarks of Ian Brown, Noel Gallagher, and Morrissey, to name but a few, the future of English guitar music is in good hands. Jake Bugg can attribute his sudden rise to fame to the fact that he is the most original sound to come from this Independent genre since the Arctic Monkeys burst onto the airwaves, in the early 2000s. 

On a dreary Sunday night in the Academy on Abbey Street, emerged a blurry-eyed Nottingham teenager. Jake Bugg - born Jacob Kennedy - has been pegged as Nottingham’s own Bob Dylan. And although he draws many similar traits, he holds his own in style. He ushers in a personality of genuine yet suave.

His style can be seen throughout the crowd. A plethora of Fred Perry polo’s buttoned high with accompanying Pretty Green parka’s draped low, flirting with an obligatory pair of Adidas trainers. Worn by a crowd ranging from early twenties to a sizeable group of the thirtysomethings. It is obvious that Bugg has garnered a strong following from the Definitely Maybe era of northern English music.

Strutting onto the stage to a scratchy recording of classic folk hit, Cross Hill Blues by Robert Johnson, Bugg stares aimlessly into the crowd.  Even though he has nearly no interaction with the tightly packed venue, except for inaudibly muttering the name of each song before he begins, he resonates a sense of ownership of the venue already. His first song, Fire, is crisply sung. It leads into a gig which could be categorised in two halves.

He belts out his more rock ‘n’ roll hits with Seen It All being the highlight in his arsenal of infectiously catchy choruses accompanied with melodious rifts. The tune depicts the life of his council estate upbringing, in the sleepy East Midlands village of Clifton. Reminiscing of a drug fuelled party where: "I made my way inside past a thousand crazy eyes, then a friend took me aside said everyone here has a knife…I swear to God nothing shocks me anymore, I’ve seen it all".

From the outset it is easy to see why Bugg has been compared to a concoction of Alex Turner’s lyrical flow with the stance of Lee Mavers, of The La’s fame, in how he strums his right hand effortlessly across the strings of his electric guitar. Add to this the swagger of Ian Brown (from when he was in his prime) and nonchalance of a Gallagher brother, and you are left with a chasm of talent that is Jake Bugg.

Bugg’s lack of interaction with the crowd isn’t for a want of not wanting to be there, by any means. Each note is precisely pitch perfect and sung with such meaning and passion that many would never attribute to this teenage sensation. Although some people have been critical towards Bugg for co-writing some of his material, he claims complete ownership when singing.

It is clear Bugg is at his best when singing about his past experiences. Before a run of slower songs are performed, Bugg reaches his optimum level when singing Two Fingers. He utters lyrics such as, "skin up a fat one, hide from the feds", but this is not to be smirked upon. It is clear Bugg is an emotionally strong character as he notes his troubled family upbringing with, "He’s with my momma they yellin’ and fightin’, it’s not the first time I’m praying for silence". He sings this with such vigour that you can almost relate to his early anguish.

He portrays a more tender side in the latter part of the show. His two man band leave the stage for a rousing version of Ballad of Mr Jones, which is met with near silence. This is not due to lack of knowledge of lyrics on behalf of the crowd, who have been in great voice throughout, but out of respectful silence towards the master class of his performance.

Bugg finishes up with his hit single Lighting Bolt, which rounds off a deceptively interrelating gig. Although he may not speak to the crowd much; he connects through sombre lyrics and hard hitting rhythms which are shadowed with excellent basslines and a steady drumbeat that gives great structure. Bugg reservedly cracks a smile as he thanks the audience through his blood-shot eyes. 

His encore ends with Folsom Prison Blues, in honour of one of his favourite artists. He then pompously flicks his plectrum into the front row and fades into the dark background of his self-entitled backdrop. With his unique voice and masterful skill with a guitar, Bugg has certainly stamped his authority on the music scene and is sure to open the floodgates for many more lone warriors. The gig, like Bugg himself, was retro; yet absolutely modern. 

S.DAWSON 12/03/13