DHP presents:

Lloyd Cole

From Rattlesnakes to Guesswork 2019 Tour

  • 📅

    Thu 24 October 2019

  • Doors open: 19:00

  • £36 adv + cmsn

  • Union Chapel, Compton Terrace, Islington, London, N1 2UN.

Entry Requirements: Under 16s accompanied by an adult

Lloyd Cole

Some albums coalesce around a title. Lloyd Cole’s new album is one such record. Guesswork mirrors the uncertainty of the world as you enter your third act. Guesswork is consistent with a record whose protagonists seem reluctant to venture confidently beyond the moment. In terms of minutes, it’s his longest, but in terms of songs, it’s shorter than any of his previous eleven solo albums (fourteen if you count those he made with The Commotions). Guesswork is also his shortest in terms of total words sung. This might come as a surprise to those who primarily remember Lloyd for the precocious literary pop dispatches of 1984’s Rattlesnakes, the debut album which earned him an unlikely place alongside Wham! and Duran Duran in the following year’s Smash Hits/Panini sticker book. However, for other onlookers who have followed his progress in the interim – taking in the muscular urban art-rock of his solo debut X (1990), the delicate digital folk of Music In A Foreign Language (2004) and a succession of electronic albums culminating in 2015’s 1D – that may be less so.

Mostly constructed in his Massachusetts attic space, Lloyd’s first “songs” album since 2013’s universally acclaimed Standards sees him finally create a (mostly) electronic setting for his voice. “For a while,” he says, “it wasn’t clear if the project would ever come to fruition. I’ve always listened to electronic music, ever since hearing albums like [Iggy Pop’s] The Idiot and [David Bowie’s] Low. There’s a simplicity to those records – even the gentle songs are very brutally projected. As I’ve got older, I’ve become more attracted to lyrics that suit that delivery. Ageing is brutal and lends itself to a less ornamented way of writing.”

Once Lloyd had formulated a sonic picture of the record he wanted to make, the arrival of each new song gradually brought that picture into focus. Although autobiographical interpretations of his songs have always been discouraged, The Over Under might resonate with “empty nesters” casting their gaze around four walls that might once have paid host to the laughter of children. It’s an unflinching slow-reveal establishing shot: a sparse study of a life released from the tension but also the structure of duty. Much of what follows seems to hang weightlessly in the vacuum vacated by the “certainty” of youth (one of two nods here to Robert Palmer’s Johnny & Mary, the other being the rhythm of Violins). This is a place far beyond romantic idealism. This is a place where lovers ponder their options, turn to each other and float the notion that they “could pool together/And be half right all of the time.” A place where, on The Loudness Wars, partners seek to hammer out an accord between their failings and their feelings: “Yeah, I’m a cold fish/Nobody’s choice dish/And you’re on fire.”

At times, the experience of listening to Guesswork is akin to sitting in a sleek, state-of-the-art departure lounge, unsure of quite where you’re waiting to go. It’s a feeling that finds its purest expression amid the pensive stabs and brittle snare cracks that measure out The Afterlife’s hungover existential audit and Remains – the latter one of two songs on the record co-written by Lloyd’s old Commotions colleague Blair Cowan. Over a synergy of rapt synths and exquisite saxophone, the song finds Lloyd riding the seemingly sudden realisation that “we’re nothing to no-one” – a rueful inversion of the sentiments parlayed on 1990’s Don’t Look Back (“When you’re nothing to no one/And you’re less than you can…”) “When I was 27,” notes Lloyd, “The concept of the washed up older guy seemed very entertaining.”

And now? And now, he says, “I’m starting to think that old age could be a lot more fun than middle age. Because really what have we got to lose?” Certainly those sentiments are borne out by some of the brighter, poppier arrangements on Guesswork. With its neon Oberheim twinkle pushed to the fore, the unguarded intimacies of Moments & Whatnot seem to locate a blissful equidistant point between The Man Machine-vintage Kraftwerk and Robyn. Float that comparison past Lloyd Cole, and he’s anything but perturbed. “That’s great. Robyn has made probably my favourite music of the last fifteen years. I think she’s a genius; she’s almost the Prince of her generation.” Further ramping up the melodic quotient is an sublime slice of mid-life synth-pop which answers to the name of Violins. Were it not for the unmistakeable voice that hits the ground running with the lines, “The missile leaves the car/Flies through the window pane”, you might be forgiven for thinking you’d taken a left turn into the new Pet Shop Boys album. “Well, one of the glorious things about pop is that you have this wonderful uplifting art form which can actually deal with some fairly challenging issues and sometimes can do so quite elegantly. That’s what my favourite pop stars do.”

On the face of it, you might be forgiven for thinking that Guesswork finds Lloyd a universe away from the literate lyrical character studies scattered across his early records. The word count may have diminished, but you can attribute that to the authorial confidence that comes with the passing of time. Indeed, nestled among the still, sundazed ruminations that dominate Guesswork, is one of Lloyd’s most compelling narratives. When I Came Down From The Mountain sees its protagonist abandoning his home in the hope that he might finally cast off the weight of his sins. “How am I going to live down here?” he intones over a chorus urgently abetted by guitar work from the other ex-Commotion on the record, Neil Clark (who will also be accompanying Lloyd on his upcoming live shows).

Completing the rollcall of long-trusted associates on this record, alongside Neil and Blair, are New York drummer, programmer and producer Fred Maher who first worked with Lloyd on X, and executive producer Chris Hughes, whose association with Lloyd stretches back to the final Commotions album Mainstream on which he worked in an “informal” capacity. For Lloyd, the involvement of Chris Hughes provided some much-needed perspective in moments which saw him uncertain whether he had jettisoned too much of what was recognisably Lloyd.

“When I was making the record I felt like I was stretching myself artistically, perhaps even to breaking point, and Chris just laughed. ‘No-one else could have made this record,’ he said, ‘It’s soaked in Lloyd-ness’ You realise over time that however much you second-guess yourself or try and pull yourself in whatever direction, it’s still you. If you have a voice, you can’t un-voice yourself.”

Guesswork is released by Ear Music Gmbh

Estimated Times

All times are subject to change on the night

19:00 – Doors, Bar and Margins Cafe serving hot homemade food open

22:30 – Curfew

Union Chapel Bar open after the show.

Margins Cafe

Margins Cafe will be serving delicious, hot, homemade food at this event. All profits support The Margins Project, which works with people who face homelessness and crisis and is based here at the Chapel.

 

Important:

You must also have a ticket for this event to eat at Margins Cafe.

The Cafe opens to all ticket holders when the chapel doors open, scheduled to be 19:00 for this show.

We’re also taking limited early dinner reservations at 18:30 for this event. Be quick it can fill up fast!

 

How to book early dinner reservations:

You can book for dinner when buying your ticket through our site.

If the option doesn’t appear then it means dinner is fully booked.

If you have already purchased your ticket for this show you can check availability and book for all dates here.

If there are no tables available it will say ‘We are sorry but this event has sold out.’

 

Information for people with a reservation:

You’ll get an email with full details shortly before the event, however, you just need to come to the black gate to the left of the main entrance, marked Early Dinner Reservations at 18:30 and show your reservation and gig ticket.

 

Menu:

The menu will be displayed here; it normally goes up a couple of days before the show.   There will always be at least two hot meals, one of which will be veggie, to choose from, plus lighter bites such as quiche and salad.  Check out the sample menu here.

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Margins Cafe serves delicious homemade food

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