DaveWakeling is such a nice guy, "I love you too, brother" he calls back to a fan, holding his arms wide as if to embrace the audience. It is a governing characteristic of the English Beat US edition: without Ranking Roger MCing, Dave manages both lead singer and MC duties, handing off to Ranking Rhythmm Epkins who has a heavier Reggae flavor then we're used to though he did skank from time to and came into his own on a dynamic "Door To My Heart" where his version of Ranking Rogers (currently fronting the Beat UK) ode to love between the races still rings true if not so surprising.
It is fun to see a later generation join Rude Boy Whistling Wakeling on the Beat classics, and it is fascinating and a wake up call to see Dave, a friendly easygoing but up against the wall presence centerstage. Helen Bach raved about the set about a year ago, and you can read her take here. http://rocknycnew0115.wpengine.com/2010/08/english-beat-at-toads-place-thursday.html I am less enthused but she is the better dancer so… .
An early "Tears Of A Clown" reminded you how strange it is to hear the Stevie Wonder composed classic rearranged for guitar, and a late night "Ranking Full Stop/Mirror in the Bathroom" medley taken as a full tilt boogie reminded you the English Beat were nostalgic but not quite a nostalgia act. In between there are missteps and failed attempts, an overlong "Tenderness" bringing the proceedings to a halt comes to mind. And there are triumphs, q "Doors Of My Heart" turns the song sideways, slowing it down to a slithery sexy rhythm and ending in quotes from Pearl jam's "Better Man" and Tom Petty's "Freefalling". Then he shouted old "Greenpeace". In both cases dave mined the past but twisted the past to suit his needs.
What hasn't changed is his beliefs, and Wakeling's politics are bubbling near the surface and needs the slightest of pushes to roar out. He introduces "Two Swords" by discussing the "ambiguity of throwing bricks at fascists…. and I was a bricklayer and a pretty good aim". These politics, this social concern which is consistent through the entire two tone movement, from the Specials thru Madness and back, is also a part of Wakeling's personality. It hasn't changed, though now 53 years old with his devastating good looks and brooding self-centeredness long past, he has. Usually, musically, for the better with a generosity Strummer would've approved of.
His band is good one, They are a reggae-ska conglom jam band, and they are centrally a dance band. The audience,a mix of 20 something rude boys and girls college kids (who skank constantly) and their parents who dance as well, respond well to the jam aspects of the band. However, it feels like a series of extended mixes and there in lies why I am a little less enthused. At least twice my "get-on-with-it" vibe took over; "I Confess" despite a witty intro from Wakeling was a drag. And the band, while they could get down, the saxophone was remarkable, couldn't maintain the extended grooves.
Or maybe they could.
The audience never faltered in their appreciation of the English Beat and Wakeling and in the middle of the set they performed "Save It For Later" followed by "Whine And Grine/Stand Down Margaret". As telling a reminder of Wakeling's songwriting prowess for sure, but also how much he has invested in the songs. This is as compelling a performance (the entire night was, even with my caveats), as you can imagine. Centerstage, Dave pours it out, the band revolves around him, and then ahead of him, then back behind. It is a passionate provocation. They are giving us what we want but also what they want to give us. Rude Boys and Rude Girls together. At the end, shaking hands with audience members, Wakeling says he won't be back for awhile. Not too long I hope.
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