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The View – QMU, Glasgow

Whenever the latest enfant terriblé of the football world – soccer, Yank readers – displays some dubious behaviour on the pitch, pundits rush to tell us that they wouldn’t be the same player without that spark of devilment. From Gazza to Cantona to Rooney, stamping on a another player’s nuts occasionally is the price we have to pay for the sublime things they can do with the ball. This is, of course, nonsense. They’d be great players without the occasional tendency to maim an opponent. This is just dodgy justification of bad behaviour.

The View were very much like this. Undoubtedly talented, they were a dodgy proposition live because you never knew what condition they were liable to turn up in. If their collective head was right, you stood a fair chance of witnessing a blistering set. If not, they’d dick about for the minimum time on-stage they could get away with, tossing off their biggest hits with all the care of a vagrant scrabbling away in his underpants, before skulking backstage amongst an almost visible sense of crowd anger and disappointment. Thankfully, on this evidence, those days appear to be long gone. The View, whisper it, may actually be maturing.

The View’s audience will always be salt-of-the-earth youngsters, who may occasionally veer into the ranks of drunken chavs if you really want to be unkind. However, there’s no doubt they make for an astonishing atmosphere, as the place is literally shaking before the band emerge.

The noise is helped along by the pre-show music – Kasabian, Oasis, Kaiser Chiefs – all the plodding indie rubbish that people seem to like. But this may actually be part of the band’s clever scheme. Whilst encouraging the belief that they come from that lineage, they really don’t. The View cover Squeeze. They play things that make you think of Fountains of Wayne, of the Raspberries, of The Skids. The View’s greatest trick may be that they’ve convinced the world that their record collection was bought from Tesco when it clearly wasn’t.

The set is paced superbly, with a smattering of singles cleverly surrounding the promising new work. Of course, the place goes bonkers for ‘5 Rebeccas’ and ‘Wasted Little DJs’, but they get an equally fervoured response to ‘Double Yellow Lines’ and the obligatory ‘bit-where-the-bassist-sings’ bit, which is encouraging as, frankly, he can’t.

‘Superstar Tradesman’ remains as fine an example of working-class men chasing their dreams as any record born in New Jersey and the show-closing ‘Shock Horror’ is an anthemic delight. They’ve stopped playing ‘Same Jeans’ now in a move which is hard to interpret in any other way than a declaration of forward motion. They may wish to delete the between song banter, though; legendarily unintelligible, nothing has changed. They sound like speed-addled chipmunks speaking in Gaelic.

So a View gig is enjoyable, exciting and dependable. Have they sacrificed any of their raw talent to achieve this? No. The View may just be growing into a very fine little band indeed.

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7 Responses

  1. good review…I thought it was a great wee gig and its always pleasing when kyle manages to finish the set…agree he shouldnt talk..waste of energy..nobody has the foggiest what he is saying!

  2. It’s impossible to work out what he is on about!

    • I would love to know what it is Kyle says because it is always with some conviction even if not with perfect enunciation! I thought I heard “matthew perry from friends wrote the lyrics on this song” last night though – so I think I might just be making it up in my head as I go along anyway. probably the best way.

      btw the view are on fire (still)

  3. That would have been cool!

  4. yes i like the thought of matthew perry collaborating with them…maybe we could have ross and joey on backing vocals next tour?? and phoebe playing the guitar…

  5. I remember you reviewing The View last year and slaughtering them for all the reasons you’ve just given for liking them! Or am I dreaming that?

  6. No, I got into them for the lack of professionalism and careless disregard for their audience, about not doing gigs due to being hammered and then brushing it off as part of being ‘rock n roll’. They seem to have grown up a bit, so it seemed to be fair to recognise that!

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