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The old favourite that owes an (acknowledged) debt to Paul Simon’s 50 Ways To Leave Your Lover as Jermaine details the breakdown of all his previous relationships, and Brett takes on the role of the choir of women who spurned him. It’s not 100 per cent clear what the title of this new faux-raunchy number is, but it tells of a torrid office romance between Deana in HR and Ian in accounts, rich with amusing, minute detail and smartly funny rhymes, such as coupling ‘spreadsheet’ with ‘bedsheet’, which raises a good laugh. Apparently a tender exchange between father and son, it gradually becomes clear that dad’s life has come off the tracks, a new revelation exposed with each line. This folky song premiered on their US comeback dates in 2016 and offers an easy lead-in to their work. They won’t seek a cheap cheer with a rock star holler of ‘how you doin’ Portsmouth?’ Instead, comments at the end of a track include the more down-to-earth ‘We made it through to the end of that one’ or ‘everyone’s kind of culpable there…’ For we are all in this mild-mannered but loving tribute to musical nerdery together.
#Flight of the conchords seagull free
Here Jermaine sardonically insists he’s called Mr Fun and has ‘something of a reputation with the other members of the band’, revealed through a hedonistic tale of overindulgence… involving a free hotel muffin. The Conchords are so relaxed in each other’s company, the gentle riffing on the minor snafus are as enjoyable as the rest of their droll, low-key, twixt-song banter. The first night of their tour, later to be filmed for HBO, still had a few rough edges technically, and a few memory lapses from the duo, but no one minds.
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Otherwise known as a bloke called Nigel with a double bass. Each of their songs displays a strong musicality – no wonder Clements is now a proper Hollywood composer – and a keen ear for stylistic parody across many genres.Īnd to match the grandeur of the venues they are playing now, for this show they are joined by the New Zealand Symphony Orchestra. Kicking off at the Portsmouth Guildhall last night, their UK tour, for which the overused epithet ‘long-awaited’ is for once apt, is an easy, joyful mix from their evolving career, with plenty for fans old and new (although a heckler’s call for their biggest hit, Business Time, fell on deaf ears). Where once their party songs spoke with a witty lack of conviction about shaking booties and boobies now they tell of turning he music down to enjoy a conversation and making sure all the nibbles are in order.
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Now they are bone fide arena-filling musicians, the stance has shifted subtly, and they can celebrate – quietly, of course – a humble, contented, suburban life at odds with the lifestyle usually projected by the bands they idolise. When they first burst on to the scene, they played on their guileless, earnest ambition at odds with their very modest place in the music world.
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‘Apologetic’ is what they have where most bands have a rock-and-roll swagger. Early in their first UK tour for seven years, Bret McKenzie and Jermaine Clements apologise for ageing.