Tag: Glasvegas

Mercury Prize 2009: Conclusion

I’ve come to the end of my journey through this year’s Mercury Prize shortlist (if you’ve missed them, my individual posts are here), so it’s time for some final thoughts, and a bit of pointless-but-I’m-going-to-do-it-anyway speculation on who might actually win.

My favourites

I must say I’m pleased that all the shortlisted albums have their own distinctive sounds, and work well as albums rather than just collections of songs. Having said that, there is one album on the list that stands out to me as being that bit more complete and well-crafted – so Lisa Hannigan is my pick of the shortlist. (Second place goes to Sweet Billy Pilgrim, whose album is of a broadly similar standard, but is let down by one track.)

Who will win?

Last year, the judges and I agreed over which album was best; but I suspect that won’t happen again this time. I find it hard to envision the quiet craft of Lisa Hannigan winning out over all the other contenders; but of course I’ll be delighted if proved wrong.

What of the others, then? I think the Prize is a very open field this year; it’s extremely difficult to mark out particular albums as being obviously stronger (or weaker) contenders. Nevertheless, I think we can discount a few straight away: I don’t hear anything in Led Bib’s album to make me think they will blaze a trail by becoming the first jazz act to win the Mercury. And the Kasabian and La Roux albums are the patchiest on the list, so I think the judges will find better candidates than those.

Taking the remaining acts in roughly descending order of fame: Bat for Lashes and Florence and the Machine are almost two sides of the same coin; combine the best aspects of both and you’d have an excellent album. As it is, I think both are in with a good chance; but I suspect the greater dynamism of Florence’s album will give her the edge.

Turning to the better-known guitar bands, Glasvegas are probably the most conventional act on the list; that may lessen their chances in this field, good as their music is. Friendly Fires are likewise good at what they do, but I think the judges may go for a more varied album. The dramatic atmosphere of The Horrors’ album probably gives them the best chance of the three.

That leaves three acts who were largely unknown before the Mercury nominations (hopefully they will not remain so for much longer!); and I think The Invisible, Speech Debelle, and Sweet Billy Pilgrim are all in with a shout. Sweet Billy Pilgrim may have a slight edge, but all three are genuine contenders.

It’s a tough call, but I have a feeling that, in the end, it will come down to a contest between Florence and the Machine and The Horrors, and that Florence will take it.

Of course, I’m just guessing here, as I’ve no real idea what the judges will think. But I do know this: the Mercury Prize in 2009 is a genuinely open contest which both the best-known and most obscure acts have the potential to win. I look forward to hearing the announcement tomorrow night.

Mercury Prize: Glasvegas – Glasvegas

Video: ‘Geraldine’

[vodpod id=Groupvideo.3181896&w=425&h=350&fv=]

First, the name. Glasvegas, it will not surprise you to learn, are from Glasgow; but their name is more than a throwaway pun – to me, it sums up the essence of their songs: a combination of grit and escapism. Their lyrics touch on harsh social realities, but the music is far from dour: this is big, epic indie-rock.

My favourite three songs on the album (all released as singles) illustrate this contrast well. There’s ‘Geraldine’, which paints a heroic portrait of a social worker; and ‘Daddy’s Gone’, an optimistic tale of someone getting over their father’s absenteeism and making a new start. Perhaps best of all, though, is the stunning ‘Flowers and Football Tops’, a seven-minute track sung from the viewpoint of a parent whose son has been killed. It’s a sweeping anthem that closes with an adaptation of ‘You Are My Sunshine’, which brings out a tender side to James Allan’s vocals.

There are no songs on Glasvegas that don’t work; if there’s a problem, it’s the same as with the Friendly Fires record – a little too much similarity in the songs over the course of a whole album. But, as I said, I’ve no gripes with the individual tracks; and there are a couple which are a real departure from the rest – ‘Stabbed’, a spoken-word piece which is as stark as its title; and the near-ambient ‘Ice Cream Van’, which ends the album on a call for unity.

The sound of Glasvegas is quite traditional, yes; but the album has a big heart and a social conscience. It’s a joy to listen to.

Video: ‘Daddy’s Gone’ (live)

Read my other Mercury Prize 2009 posts here.

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