 
Morrissey
Enmore Theatre, Sydney
Review by Mark Mordue
Curious creature. Half denying us yet wanting our love, chilling us with
the dark edges of sadness yet exalting us to ecstasy if not joy; amusing us with your wit
and theatricality and some other strange quality that appears to pass over you like a
constant spasm of narcissism. "Does the mind rule the body or the body rule the
mind," you once sang. "Oh I don't know!"
At age 43 you seem more in love with death than ever. Carried on stage by your band in a
mock funeral cortege, with the bells of Big Ben chiming redolently for time itself and the
passing of royals, poets and leaders. Oh you like things grand alright, see yourself in
that same significant way - significance by its very nature tending towards pain and
regret and sacrifice, the life lived for greater things than one's own living.
Sir John Betjeman's poem A Child Ill has set the tone for your arrival, a recitation that
links the dying blue of his father's eyes to a glance in a mirror and his own son's look.
There is a light that never goes out? Oh I don't know...
As your body is dropped to the floor feet-first, you bounce - bounce! - into life.
Smiling, over-the-top, the duke in your domain, you declare, "I - I am Sydney. And
you - you are Morrissey!" And with that the band erupts into the first of many Smiths
songs, I Want The One I Can't Have ("and it's driving me mad, it's written all over
my face").
There's an awful moment later when someone yells out "Are you a poof?" It's hard
to believe a person could be so rude or stupid. But you shrug it off, say "That's
very direct." And when the same ugly figure says something much worse towards the end
of the night, you respond: "Well you paid to be here and where does that leave you my
friend?" It extinguishes them.
What a crowd is truly here for you. Old followers loyal to something unclear, faded hearts
looking hopeful, odd bods shocked to be out in the world... a rather ugly and worn lot,
really; while over there, look, there's a young impassioned beauty who seems to have
unearthed you like some piece of necessary romantic debris from musical history. It is
perhaps your own trap that a lyrical yearning in everything you write delivers you back,
again and again, to the fan, to the believer in figures who are lost or failing: those
references to old TV and British film stars, to pop flash in the pans and suburban
fantasists who kiss or kill, to Keats the poet who died too early and Oscar Wilde who was
betrayed and broken. Yes, you love death and its mortal echoes: failure, betrayal, lost or
misguided love. And it rewards you.
Your own career is now tribute to this. Tonight I see at last that you are the son and
heir, the protector, of The Smiths legacy. And that no one but you can sing these songs. I
enjoy your band, how hard they work, how finely they play, a good band all too aware they
exist in the shadow of a great one. There's something likeable in what feels like a
shyness about this as they do their best to create magic for you, to make us all believe
things have not broken up and passed away. I therefore find it strange that so much of
tonight, so much that truly is a joy, leads ultimately to a pang for what it must have
been like to see The Smiths so long ago. And once that is understood, the reverse vision
emerges: that from the beginning The Smiths were a band with some sepia, grave-side, Moors
murder, 1950s black and white British cinema tint upon them, your own creation, bound for
memory and sadness and vandalistic futility.
And yet of course the old songs are the ones that make us happiest. Can it be too simple
to say it is the melodies? That we like to sing along? That the words are very beautiful
and this beauty makes us feel good, whatever the messages? That Everyday Is Like Sunday is
great precisely because it makes us feel sad together?
Yes, you are a curious, strange creature. Moving on stage with a jerking stiffness that
makes me think of Mary Shelley's Frankenstein. Arcing the microphone lead like a great
whip to the music's pulses. Parading one-self as an aloof, lordly figure, yet engaging
richly with the audience, relishing the touching of hands, the gifts of flowers and notes
which you improvise into lyrics on the spot, loving, loving the way your jokes makes us
laugh. "Thank you, you're very warm and understanding," you say to us sincerely.
"I give you fifteen minutes!" And then you smile wickedly.
Meaning of course we will get sick of you and your indulgences. But we don't. In fact you
are a performer best enjoyed at length, as the songs and stage banter and vaguely
epileptic dancing all accumulate into something larger. Yes, you are better by the hour,
and so it's a disappointment when you only do a single-song encore, There Is a Light That
Never Goes Out. It's startlingly beautiful as the day it was written, of course. But you
leave too quickly, and that abrupt departure, that lone song, feels parsimonious, as if
you lack some last vital act of generosity in your being. As if in the end, as always, you
are closing a door rather than opening it.Your new songs show you still have a gift
despite the fact you appear to be too much trouble for any record company to take on.
Almost four years without a contract?! When your band is this good and you are able to
deal with your entire repertoire so well? Something is not right. Especially when the
startling lines are still alive and thrown to us as hurtful as ever in fresh, pearling
tunes like The First of the Gang to Die: "You have never been in love, until you have
seen the stars, reflected in the reservoirs!" Words that make us feel young again and
deadened inside and dazzled and alone all at once.
So you have come to town and danced for us. Sang songs we loved and new songs that
impressed, though sometimes there was a heaviness to latter that bogged the light
machinery of your original muse, too much rock maybe, not enough pop. But that's a
flickering criticism, not a drama. Mostly you entranced us and took us places and made us
wonder whom you were and where you were at right now, this minute? Greying at the temples,
persisting with your quiff despite a propensity for baldness, dressed like a man who is
not quite as slim as he would like to believe, a rock star in mid-life denial.
I'll tell you the truth: I see you up there and I have the image of a boy at his mother's
house, playing at being a star, practicing in the mirror all the things that would make
him great, all the words and lines that would impress the world and defend him from its
slights and spurs. How is one to know that dreams can come true? That all which defends
can also imprison? That lonely boys can simply become lonely men, for all the wonder that
they make, if they do not let someone in - most of all when they exchange the love of one
for the love of the world, a public brutal and adoring that will always have you even when
you have no one at all. Yes, you saw yourself in the mirror as a boy. And here you are
today, entertaining us, impressing us, saying yes and no. |
© Mark Mordue
Dirty
Three: Mark gets in the mood in Glebe, Sydney with the Dirty Three CD, "Whatever You Love, You Are." & Alive in the City of Sound: A Night with
Dirty Three.
Mark Mordue's Music Archive: The Vines, Nick
Cave and the Bad Seeds, Tex Perkins and His Dark
Horses, Radiohead: Ghost in the Machine, Ben Harper: "The Gift".
Tom Roe's Music Archives: Made
in New York, "No More Prisons", Sonic Youth
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