David Thomas Broughton
David Thomas Broughton was one of the highlights of last weekend’s Homegame festival, as far as I was concerned. That won’t be a surprise to my older readers (or anyone who listened to this week’s podcast), but it’s been a while since I’ve mentioned him on the site.
He’s a tricky fellow. His performances depend on the spontaneous and the physical to the extent that it can be quite far removed from the records. Or at least, the core of the songs tend to still be there, but he seems to leave so much undefined, to be made up on the spot, that you could see the same song a dozen times and not even realise until halfway through on each occasion.
I know a lot of people who have seen him live and hated him, and where usually that would goad me into calling people nasty names on the internet, in terms of DTB I actually have some sympathy. He is an idiosyncratic performer to begin with, which can always put people off, but I have also seen him be downright bloody-minded and hostile with his audience when gigs haven’t been going well, so I can see people not taking to him. His voice is kinda funny too.
This doesn’t matter to me of course because I think the lad’s bloody brilliant, and I think I repeatedly and increasingly annoyingly insisted on telling him so at Homegame. And he has a new album. And after all that talk of his occasionally obtuse experimentalism, it’s a short, snappy pop album and an absolute joy.
Often his songs drift through random noises and sound collages, from the harsh to the amusing to the impenetrable, only for scraps of melody and genuine beauty to emerge on occasions rare enough to keep you perplexed yet frequent enough to keep you hooked. This is nothing like that though, and nor is the rest of the album.
I’ll review it properly after its release date, which is in a week or two on the Brainlove Records, but for now this video is just so splendid it needed to be thrust upon the internets immediately.More: brainlove records, david thomas broughton