They took the stage, which is usually a triumphant moment but in this case, the crowd had been waiting too long. Regardless, the show was a dance-crazed bonfire of punk and disco. Despite her reluctance as a front-woman, Beth’s voice is what separates The Gossip from other 3 pieces. It’s huge; operatic in scope, and fizzles into the most delightful whisky-tinged blues growl with a versatility that would make Janis Joplin proud. They thrashed around the stage, each song delivered with a sweet “fuck you” to the establishment. The crowd ate it up; The Gossip whipped up more political awareness with one little show than Green Day did with American Idiot.
The most comforting and accessible trait Beth makes immediately obvious is her unapologetic attitude towards her image. She is anti-waif, anti-intolerance and anti-Bush.
“I’d rather be in Britain than the US,” she says. “The America government is a piece of shit.” Ruth, ever up for a bit of political banter, perks up noticeably. “All I can say is, I didn’t vote for the motherfucker.” Beth goes on to explain that she was playing with a political feminist band in Ohio on the night of the elections. When the news came out that Bush won, no one could say a word. They were too shocked and saddened. “I don’t even think Democrats are cool; just a change.” She concludes.
Their recent full-length release, Standing in the Way of Control, is a rally call against the injustice of the current American government. Like a spoon full of sugar, The Gossip’s strengths lie in their ability to dress turbo-charged, frothy disco-delights in more weighty subject matter. They perfectly marry pop’s energetic fun with raw punk ideals. This synergy makes for an explosive live show; no one in the crowd can stand still, and sweat drips from the ceiling. You can practically see steam rise as Beth’s hellfire vocals sear the walls.
Unfortunately, the album doesn’t quite manage to capture the power of their live show. It is a well-executed effort; the recordings are crisp, the composition is sound, and even the cover art is very nice (co-designed by Kim Gordon and Braice Paine). Perhaps it is this careful execution that mutes the raw power and punk energy that so characterises their live performances. Regardless, I’d buy it again. The band’s social conscience embodies important ideals that demand mainstream exposure. Standing in the Way of Control is a rally against social injustice, defending all victims of discrimination.
As a parting shot, I asked Beth how she measures her success. Is it by critical acclaim, money, friends on MySpace? She thinks for a moment, staring at something in the corner only she can see. “By the number of holes in my pants,” she says, in all seriousness. Aida and Ruth exchanged a confused glance. This Americanism didn’t translate. “Her TROUSERS,” I clarify for the two hopeless Brits.” “Not her underwear.” Beth let out her southern laugh and everyone smiled like on TV. Feel-good theme music rose over the laugh track as we left the room and turned off the light.
Apparently, Beth was speaking more literally than I interpreted. As The Gossip ripped into their big single and title track ‘Standing In the Way of Control’, Beth began to shimmy out of her black leggings. Most of the crowd is dancing insanely; the opening bands and friends rush out from the wings and take over the stage in one big sexy party. Beth is performing at 110% of capacity – without missing a BEAT, she stripped her leggings AND HER UNDERWEAR, pressed the pants (in the British sense of the word) to her fac<br>e and inhaled deeply before chucking them at some lucky crowd member. DOES IT GET ANY MORE ROCK ‘N ROLL?!?
Any woman who can remove her panties on stage as an act of defiance has more rock 'n roll in one black-nailpolished finger than Steve Jobs will ever have, even when he's listening to The Shins on his iPhone.
Pilgrims
