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To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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.
