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Rating: I'm fed up. I'm really fed up with being told things like: "Hey! Have you heard The King Of Limbs? Oh my, it really sucks! Radiohead are finished, they can't do anything right anymore." Let's be clear: de gustibus non disputandum est, so it's possible that "The King Of Limbs" makes you sick. But from here to saying that Radiohead are washed up, well, that's quite a stretch.
And indeed, a few months after the album's release, the Oxford quintet opted for a return in the The Basement to present their new work live. I admit that they couldn't have chosen a better place and way to silence all the criticisms of the past months. The show gives us a Thom Yorke in top form (not surprisingly), a Johnny Greenwood fundamental (this time also on percussion) and the happy addition of Clive Deamer, drummer of Portishead, who joins his "twin" Phil Selway. Take that, all maligners!
The opening is entrusted to "Bloom". I admit that on first listens, the album version made me raise an eyebrow too. I had to change my mind. Live, it becomes the most hypnotic and ethereal thing possible. A basic role for Deamer, who handles the electronic pads, creating a strong rhythmic base together with Phil. The gem: Johnny on percussion with a snare, a timpani, and a pair of drumsticks. The second piece is a new one. We're talking about "The Daily Mail", consisting of two parts. The first is signed with Yorke's blood: skewed piano, sweet voice. Then, gradually, the piece grows until introducing the second part, where the rest of the band comes into play. Shivers down the spine.
Soon after comes the much-anticipated "Feral", one of the most fascinating pieces of The King Of Limbs. It's difficult to do better than what's already been done on the album, but Radiohead manage it, once again showcasing an enviable rhythm section (once again the Deamer-Selway duo is fundamental) and suggestive effected guitars, all surrounded by Yorke's convulsive vocalizations. The subsequent "Little By Little" is perhaps the least successful episode of the live, resulting weak and unpleasantly slowed compared to the album version. There's a need for a heavyweight piece to compensate for this little misstep. And indeed, "Codex" stands out, indescribable for its intensity and sweetness. It's destined to become a showpiece for all future concerts.
Next is "Separator", another very interesting piece. Once again, Phil's dry and direct drumming takes center stage (assisted by the usual Deamer and Colin's bass) and the brilliant guitar inventions of the Yorke-Greenwood-O'Brien trio mark a magical and dreamy finale. It starts again with "Lotus Flower" which establishes a perfect understanding among all the band members. If then Thom starts dancing with maracas in hand while singing, you can imagine what must have come out. We head towards the end with "Staircase", another b-side always marked by the percussion duo (and then people wonder where the dubstep influences are...) and "Morning Mr. Magpie" which in this situation becomes a convulsive electronic vortex.
A special mention goes to the concluding "Give Up The Ghost". Ingredients: Thom Yorke's magnificent voice (now more than ever), a guitar, and Johnny Greenwood's direction. These are more than enough to bring to life one of the most beautiful live performances in the group's history. A track that on the album was already a half masterpiece, here is literally bathed in a heavenly light. See (and listen) to believe.
The message is clear: Radiohead are far from finished. They are alive and are still capable of giving us breathtaking concerts.
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