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The Strokes Headline Hyde Park

The Strokes Headline Hyde Park, London UK - June 18th

A view by Gordon Raphael. (All loudly voiced opinions are the author's own)

I already got two friends in, and picked up my envelope from Guest list/Will Call. One pass for me, and one extra because I always am wishful that some insane rocker girl in bleached out denims and a summery top will walk up to me as I enter the gates looking for an extra ticket. It never happens, so I usually go in with that ticket in my back pocket, and this day was no exception.

I deeply appreciate the love still shown by The Strokes management, because they have consistently, for 14 years, given me free tickets to any gig, and done so very smooth and friendly. This time there was a minor mess-up, I got a VIP entrance wristband, but they accidentally put my "backstage pass" in my friend Kaja's envelope. I found this out later, but at first thought "oh, hmm- either I've been demoted or perhaps I wore out my welcome two weeks ago at Primavera Sound in Barcelona when I brought a small collection of new friends backstage to banter with Sean Lennon's band and The Strokes, culminating with me making off with a box of Oreos from the dressing room.

I put this in the back of my mind and entered the sprawling Hyde Park in Central London, looking for my two friends Jess and Allizon from new band Mystified- and to look around this concert scene seeing what would be rocking (or not).

"Later", I thought, "when I get cold, tired and hungry, or crave some hang-out time with The Strokes, extended family and business associates, I will blag my way backstage, in some way".

Finding the Mystified musicians, we quickly went to a big stage and watched a band come on. Within 15 seconds I felt that familiar feeling of nauseous resentment which historically 99.9% of all music that I have heard in the world inspires within my soul and body. All it takes is a non-interesting drumbeat, a limpid guitar figure, and "go-along with the guitar" bass line, and a smarmy guy with a show-biz vocal singing lyrics of an uninteresting non-poetic nature, and I feel that queasy "run for the hills" vibration in my solar plexus.

I've been feeling this way my whole life, so it's not that modern music is particularly bad or anything. I have just felt that I do not share the same values for music that the majority of people worship with a wow, or give their attention to. The easiest thing I can liken it to is McDonald’s; yes they are huge, ka-billions served! But is it really food? Is it life-sustaining? is it the "real deal"? Or (here comes probably one of my views that will not win me friends!) cigarettes and alcohol…. wildly popular! But really-- doesn't cigarette smoke stink and make you choke? And aren't drunken people primarily no fun to listen to, or be in the presence of?? I understand that alcohol kills the pain of living, like other drugs . I understand that nervousness and tension and anxiety are no fun to party with - but at least they are real! I understand the psychology of the "death wish"… but cigarettes? hmm, is it not just another marketing ploy for coolness gone awry, and lasting decades beyond its innocence?? I digress, but no- not really.

I ran as fast as I could to get as far away from the sonic stench of what I considered pointless physically weakening music (as the crowd sang along and danced of course!) and wound up in front of a stage full of modern electronic Midi-equipment.

"Oh no!" I gasped-- I have no idea who will be prancing out onto this stage, but just one look at the "instruments" is telling me that I am gonna NOT LIKE IT! Usually when I see the logo "M-Audio" I get the feeling that whatever is gonna come out of that will be "looped in Abelton" and sounding plastic as all hell! Indeed, the prancers came out, and the Midi music, and "corporate secretarial" vocal stylings ensued, and the familiar sickly feeling of "bad bad music" washed over my brain like some carbon monoxide smoke, signalling imminent demise. Yes, I ran from stage two. Second dose of popular non-music in a concert setting in an hour's time. "Hmmm, bodes bad for today" thought me.

I rarely ever go to festivals- however at Primavera Sound, during the final week of May 2015, I had the unprecedented experience of absorbing 3 fantastic utterly fulfilling live sets per day for 3 days in a row: highlights being 2 sets by Patti Smith, Julian Casablancas & The Voidz, Jose Gonzales, Sean Lennon & GOASST, Einsturzende Neubaten and The Strokes. The feeling of 3 superior concerts in on day, repeated over a three day span- was so very life affirming, and music sustaining, that the emotion and energy seemed to refresh almost every cell in my body, and every tentacle of my mind!

At this point of the Hyde Park day, I decided 1) get food in VIP area, 2) find someone high up in rank who can pull some favours for me and get me backstage so I can mingle in rock/party-mode. In the VIP area I saw a bunch of the new school young music crowd from London. This season seemed predominately some sort of fashion show from 1968 - but in some modern way that sorely lacked the fire and historic determination I felt from the original scenesters. Perhaps these fashionable young rockers (?) maybe rock… I can't be sure, since I've seen so many bands dressed up like rockers, with electric instruments and drums and hairdo’s, only to be a-gag at the pappy poppy, flavorless goop that came out of their amps and mouths-- but hey! That’s just my point of view, ain’t it??

Also the food choices were abysmal and dismal- for an organic vegan like myself. Tons of beaten pulled apart porks, and artery-clogging deceased cow-burgers. there was one small jar of hummus available, and after circling the whole area twice to make sure, I settled on that. Happily I ran into Lewis Lazar and Christopher Willatt, two amazing song-artists whom I had the pleasure of sharing a stage in London with one year ago. Lewis is in a new band with Nikolai from The Strokes called Summer Moon. These two are always bright and switched on, and we had a fun talk before I felt compelled to head off. I gave my remaining unused ticket to Lewis for one of his friends, so at least- finally it did not go to waste.

Now for the tricky part. How am I gonna get past all these security guards who are inspecting everyone like a hawk and denying backstage entrance to all who were not carrying the proper green wristbands? I'm at the side of Main stage, looking yearningly into the backstage area just like I used to when I was a wayward, stoned teenager. The guards looked coldly and with focus upon me when I did not move along. Instead I stood like a dork, watching all the happy and excited super VIPs and performers coming in and out of the backstage area right past me. Several people I knew, yet didn't want to ask them about "extra passes". I waited and waited for my right moment, right person. And then another band came on stage. A band I already knew I did NOT want to see based on recordings I had been hearing for years. Oh, NO! I could not escape the tones, lyrics, choruses and instrumental bits wafting off the stage into my ears. YES, I had toilet paper jammed in my ears, lots of it to reduce the harm and harmonies! But still, I could feel that music stinging my flesh, nonetheless.

People came and went. Almost an hour passed by, and no one did I see whom I felt comfortable begging for backstage passes for The Strokes dressing room area, and side-stage. Aha, there's one, and she's coming straight for me! Thank you Pat Carr! She said hello, introduced me to her friends and partner and reminded me that she worked for me when I had my Shoplifter Records label through Sony in London back in 2004. (Back when we were releasing Regina Spektor's Soviet Kitsch for the first time!) Of course I remembered her, and was overjoyed that she wasn’t angry with me for leaving 1500 of my own band Black Light's CDs in her warehouse, and never coming to collect them (or release them!) In fact she graciously gave me her new business card, and when I read "BMG" on it, I smiled big, and told her I'd be calling, cuz of my new band Analog Poodle! I mentioned that I wanted to go backstage and steal more Oreos from The Strokes dressing room, and one of her friends just opened her handbag and just gave me that green ARTIST wristband I'd been hoping to score all day. Just as the other music was fading out. Double pleasure.

I ran past the guards with an extra smile on my face, and darted towards The Strokes dressing room with visions of Oreos, and chats with Nick Valensi and Julian and a hug with Fab. Julian smiled to see me, and invited me in, but told me that they were on in 5 minutes and that he had to go warm up. After some joking around with Albert and Fab and happy to see Matt Romano after many years- I ran off to the side of the stage and gazed out onto the 50,000 fans gathered breathlessly to see a very rare live performance by The Strokes.

My poor tired iPhone had just enough batteries to take 2 snapshots- one minute before they took the stage, and one during the first verse of the first song ('Is This It') immediately posting these visions to Facebook for my friends all over the world.

What I noticed in The Strokes performance was very similar to what I observed 2 weeks before in Barcelona, but with some major differences. I always get a profound rush of exhilaration when they play a song from a record I produced - of course, naturally! Starting the historic set with 'Is This It' put me in a great mood (and believe me, the crowd too!) immediately.

Songs from 'Is This It' album, 'Room On Fire', and even some from 'First Impressions of Earth' that I think I was involved with, followed in generous supply. They also played material from the 2 other albums they made without me, and I know they sounded great too, but I never heard those records (the jealous type, me!) and those songs are not ingrained into my soul like the others!

The Strokes played brilliantly. Albert looked like a pillar of strength and fitness in his magenta flight-suit. Holding his guitar effortlessly and generating power rhythms and searing leads at the top of his game.

Fabrizzio looking deep, artistic and wise played fast and hard on his drums, swinging every beat, driving the songs around every corner; his transitions sharp as a diamond and ending each song with controlled precision.

Nikolai was rocking a total John Cale thing (Bass player for Velvet Underground) with a sleek hair design, and a coolness-par-excellance as he also very effortlessly laid down the tricky counterpoint and rhythmic bass lines to every song, like a master.

Nick Valensi is just a natural stage rocker, and has obviously inspired new generations of rock guitarists, and romantic dreams among his female followers. The guy plays some of the most rhythmically demanding solos I know of, and always does it with a sly smile on his face making it look quite simple for him!

That leaves the enigmatic and wildly loved genius that is Julian. Nothing he does - whether its his singing, stage banter, movements or facial expressions is "obvious" or on the surface. It's layers upon layers of meaning and complexity - even contradictions. Are we hearing the joy of soaring melodies, perfectly crafted and executed in his voice? Or is it the roaring scream of doubt, anger and pain punctuating those lines. Is that a smile because he's so happy to be in Hyde Park with 50,000 fans showing their love? Or did we just see him scowl and spit uncomfortably on that huge stage? Is he seeking our approval? or voicing his disinterest, dissatisfaction with us, and wishing we would go away and leave him be. Whatever is going on inside of the man, we have come to know these enigmas, and truly love his music for the real depth of actual human experience consistently portrayed.

Julian's voice is quite a miracle (do I sound like a fan?). Julian's voice has intensive rhythm, unbelievable melodic pitch ability and a huge dynamic range! (Do I sound like a producer?)

Yes the crowd loved it. Yes Julian talked more than I've ever seen him do on-stage. Yes they played incredibly well, as powerfully as they ever have, and yes they did 3 great encore songs, ending with my always favorite (especially at live gigs) 'Take It Or Leave It!'

Afterwards I went back to the dressing room to grab those Oreos I never got (and never did find), and to celebrate with the band. I saw many people I'd hung out with ten years earlier at other gigs and festivals. Rough Trade (James Endeacott and Kelly Kiley), super booking agents Russell Warby and Marsha Vlasic, various close The Strokes family members, Ryan Gentles (of course!) and many others that made me feel like we were having a happy family reunion.

Later we jumped in vans and black cars and went to Covent Garden for more socializing and celebrating in a room with a library and fireplace. Cosy and fun, until 2 am when I found a taxi back to where I was staying in Stoke Newington.

No, I sincerely don't like a lot of bands in the world, but happily The Strokes are one of many that make me committed, every day, to the powerful sacred majesty contained in song and lyrics.

Onwards with the music.

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