Birmingham gig review [UK]

“Meet the new boss, same as the old boss. That, at least, is how The Who might have put it. Back in 1987, two rock bands ruled the UK charts – Bon Jovi from the US and Europe from Sweden. People liked their music because it was accessible or particularly alternative like most heavy rock was. It’s surprising that more bands haven’t balanced the equation similarly well since then. That’s why we should, even if it’s a little grudgingly, take our hat off to The Rasmus.
The Finnish band has got it exactly right. You can’t even do the tedious we-hate-Linkin-Park thing of accusing them of not having paid their dues. Breakthrough album ‘Dead Letters’ is the band’s fifth, and like current single ‘In The Shadows’ – played at the end of the main set to tumultuous acclaim – it’s a runaway success. Long after you would have thoguht it possible, a band really has repackaged rock’s late 80′s commercial zenith for a new generation.
In retrospect, The Boxer Rebellion are not a bad choice for suport. They’re clearly nowhere near as immediate (or retrospective) as the headliners, but their more subtle, shadowy music and epic instumental surges make for a hypnotic half hour if you can be bothered to apply yourself. Most present tonight take The Boxer Rebellion very seriously, and that has to go down as a victory for the Londoners.
The Rasmus, to their absolute credit, are a very good live band. A picture perfect sound allows impish frontman Lauri Ylönen to punch out each crisp and cunning melody to maximum effect. ‘First Day Of My Life’ and ‘F-F-F-Falling’ are as glossy and instantly resonant as they are on the album, and power ballads ‘Still Standing’ and ‘Time To Burn’ are no less purposeful. Ylönen is a strangley absorbing presence, skipping around the stage like a leprechaun after winning a Goth makeover competition. He certainly has something that people want, and it’s enough to cause a crush situation at the front. Guitarist Pauli Rantasalmi has to take time out to ask people to step back (It was Eero dipshite).
It’s during ‘Guilty’ that The Rasmus’ cleverness is at its most transparent. There’s the tiniest hint of Linkin Park, the smallest trace of HIM, but let’s face it: that hok could’ve come straight from an early Bon Jovi album,right down to the last ‘woh-oh-woh-oh-ah’. The crowd gleefully sing the latter parts, not knowing and not caring that you could have been beheaded for doing this when Nirvana were around.
The Rasmus may not be a cynical rehash of old glories, but they are certainly a happy coincidence”.

Steve Beebee

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