The Brian Jonestown Massacre

The Forum, London
 

NOTORIOUSLY erratic frontman Anton Newcombe, the troubled genius behind the BJM, positions himself onstage like a conductor facing his band — no doubt to enable him to swiftly hurl abuse at any bandmate unfortunate enough to play a wrong note. Or it may just be, with his back mostly facing the audience, an attempt to avoid the temptation to kick a goading fan in the head (it wouldn’t be the first time).

Yet tonight’s London gig, the last in their UK leg of a European tour, manages to pass relatively drama-free.

There’s always the sense that Anton’s dysfunctional nature could derail the show at any moment, and there’s the usual impatience from the crowd as the group spend what feels like an eternity tuning up for each song.

But while this certainly spoils the momentum of their decidedly mesmerising live performances, all is forgiven as soon as the next song rolls.

Their unique brand of neo-psychedelia, shoegazing indie and garage rock is played out behind a wall of guitars, while mutton chopped tambourine player Joel Gion stands serenely in their midst.

Largely showcasing their last two albums, The Future Is Your Past and Fire Doesn’t Grow On Trees, there’s room for plenty more in what ends up being an epic two-hour set.

Fan favourite Pish gets an airing, as does the folk strumming of Nightbird, while they really come into their own on The Mother Of All Fuckers and A Word.

But it’s Anemone, off their wonderfully titled fourth album (of more than 20) Their Satanic Majesties’ Second Request, that has the geed-up crowd singing along the anthemic refrain: “You should be picking me up, instead you’re dragging me down.”

A brilliantly ritualistic extended jam of Abandon Ship, where the group are suddenly joined by two more guitarists and an additional tambourine player, concludes a triumphant performance.