Ariel Pink's Haunted Graffiti – Hoxton Bar and Kitchen, London 02/11/10

The title of tonight’s show as ‘fan-only’ seems a little far-fetched. Not to pick holes into it too much, but with Ariel Pink’s storied past and pretty expansive canon, it’s safe to say that his is a status that could quite simply be defined as ‘cult’, and by default inherit a level of devotion that the usual ‘fan’ may not be able to live up to in comparison to the consistently adoring. His is a character that is either loved or hated; but Before Today and the fruitful emergence of Ariel Pink’s Haunted Graffiti as a larger, more direct entity – seems to have changed that idea almost entirely. His career has been brought a new life by the incorporation of a more stable set of musicians in his company and an album that has brought attention from further afield than any of his previous work. There were always bound to be fair-weather fans, but what were we all to expect in this environment now?

Well, you’d be hard pushed to say that old or new fans would be left disappointed by anything on show tonight, with a brilliant double-header opening of ‘Bright Lit Blue Skies’ and ‘Beverly Kills’ immediately affirming the love in those new hearts and reinvigorating those of old. It proves to be the beginning of a tightly woven set that twists and turns with the same level of delight that is so brilliantly displayed within the confines of that so-adored last album.

What is so efficiently brought forward in this new live encapsulation is just how intricate every musical element is. Whilst on record there is a deliberate proclivity towards the nostalgic – despite the toned down nature of Before Today, Pink’s material is resolutely heaped with analog effects, obscure twists of production and his iconic home-taped style – live there is a sonic freedom that refreshes the material immensely. Tim Koh underpins this whole process perfectly – the bassist is a subtle whirlwind of grooves; not a bum-note throughout and proving to be an essential lynchpin to this cathartic new beast. ‘Menopause Man’ proves to be a restrained highlight, with the bass’ simplicity playing faux until an all out pop freak-out ensues, encapsulating the new joy that seems to be pumping through the collective veins. ‘Butthouse Blondies’, as well, loses none of its inherent psychedelic charm, but the emphasis resides purely on the destructive distortion of the chorus, which reaches a euphoric level of live melodic power; the band moving from solo like shredding to acoustic replications with surprisingly consumate ease proving a diversity in sound that few others can come close to replicating.

Each band member may play their incredibly specific role brilliantly and nigh-on flawlessly, but all of them are merely support to the star of the show that is Pink himself. Known for his own eccentricities, he does not leave those in want of his character disappointed either. From the moment his blonde locks hit the stage of this packed-out room, there’s (only band apparent) sound issues which he is unwilling to let go, shouting ‘triple’ at the monitors, berating the sound man for the reverb he is so besotted by and cutting a straight forward figure throughout. It’s the climaxes of the sets sections that bring him to a sudden tumult – ‘Round and Round’ sends the crowd into expected raptures and Pink himself into a staunchly glue-footed frenzy of husky vocals backed by ever-present and unabashed choral harmonies, whilst ‘For Kate I Wait’ feels like some sort of exorcism. It’s brought to a new high with absolutely everything that surrounds it, from band, to crowd, to sound – it’s no wonder Pink cracks a brief smile and seems positively grateful at this end of their European leg.

Comparisons to Kurt Cobain may be readily thrown his way, and his Tad style lumberjack get-up may only enhance those sort of hapless musings, but this new slightly departed ethos to his art now seems to be bringing a level of demanded creative fruition as well as new reams of disciples. And whilst they may never reach that level of mainstream reverence, for whatever reason, with performances like this you’d be hard pushed to say that Haunted Graffiti aren’t destined for larger ‘fan-only’ performances in the very near future.