Dagger at the heart of a good night

Apr 19 2008 by Paul Rowland, Western Mail

THE Fratellis are about to head off stage. There’s one song left. They’ve played an entertaining, smiley set of their customary knockabout rock, effectively blending new tunes with tracks from their fun debut Costello Music.

But the inevitability of what comes next leaves a bad taste in the mouth. Even while the band were off-stage preparing to return for the ever-so-predictable encore, blasts of the chorus of the fateful tune ring around the packed audience.

There’s only one thing that can follow. Chelsea Dagger. It just had to be Chelsea Dagger. The terrace singalong single that's become both the band’s most famous moment and, you increasingly feel, their millstone. While the crowd whoop and jig at the bawdy chorus, the song itself is performed with little joy. It all feels like a chore – a band coming to terms with their misfortune at having caught the public’s imagination about as much as they’re ever likely to at such an early juncture in their career.

And it’s all rather unfair, because said song is one of the band’s weakest. From the off, there’s much to be impressed by. Connoisseurs of the avant-garde might turn their noses up at the Fratellis’ simplicity, but they make a good tune. They do radio- friendly, raucous, bluesy fun rock and roll.

And that’s just fine, because someone needs to. Bouncing on stage to new single Mabel – cut from the same piece of wood as Costello Music – the ratchety boisterous feel is very much alive.

Highlights Everybody Knows You Cried Last Night and Baby Fratelli are chucked in early, with a scrawly out-of-control feel giving a glorious sense of excitement – the musical equivalent of taking a corner on a deserted country road a little faster than was safe, but ultimately getting away with it.

Most of the new stuff sounded great, with Look Out Sunshine, a blend of Kiss and the Libertines, an interesting caveat. And with Chelsea Dagger predictably underwhelming, it was left to folksy acoustic strumalong Sing For The Choir to provide the genuine high point.

All told, a top performance – it’s just a shame most people seemed to be waiting for just one thing.

Paul Rowland