Despite its modest critical success, Radiohead is probably the most underappreciated British band to not quite hit it big in America this decade. The band is decidedly more popular here than it is in its own country, yet its often sonically challenging, semi-experimental brand of guitar rock has somehow eluded the core masses of the American listening public. While such bland English exports as Bush and Oasis have been able to flourish on the mainstream American airwaves, bands like Radiohead are consistently ignored because of the very quality that makes them worth listening to.
At its recent stop in Detroit, on an extensive tour to promote its latest album, "OK Computer," Radiohead displayed more energy, enthusiasm and character than many major stadium-bands are capable of mustering. An intense two-hour, double-encore set left the majority of the crowd at the State Theater breathless, with barely enough energy to scream for more. Yet there was Radiohead, pouring on song after tuneful song, alternating between the heavier rock of its second album, "The Bends," and the quieter musical layerings of "OK Computer," as lead singer Thom Yorke's seemingly rubber head shook menacingly back-and-forth all the while.
The show started rather uneventfully, with Scottish band Teenage Fanclub playing a short set of its own variation of Britpop (or Scotpop, if you will). Though the band has never achieved any real airplay in the States, it is easy to see why Teenage Fanclub is a moderate success in Britain. Its catchy guitar pop, coupled with the fact that it has essentially three lead singers, makes it quite radio-friendly in a nation that relies almost exclusively on singles and marketing gimmicks (witness the Spice Girls).
Perhaps to change the mood as quickly as possible, Radiohead took to the stage with its most un-radio-friendly song, "Fitter Happier," which consists almost entirely of a computerized voice reciting a sort of cyber-poem about the alienation and dehumanization of modern man in a technologized world. Deep stuff, to be sure, but the band quickly changed the pace with its first real song, "Planet Telex," also the first track off of "The Bends."
From there, Radiohead alternated between "The Bends" and "OK Computer," replicating each song perfectly, including Yorke's dynamic vocals and the bizarre sound effects on its newest tracks. The band gnashed through "Airbag" and "Lucky" before settling into an uncomfortably long set of most of its slowest material, including the perplexing "Exit Music (For a Film)," "No Surprises" and "The Tourist" off of "OK Computer," as well as "(Nice Dream)" and "Bulletproof ... I Wish I Was" from "The Bends."
Yorke finally broke the monotony by thanking Detroit radio station 89X "for actually playing" the band's next song, "Paranoid Android," the first single off of "OK Computer." A rhythmically complex song with no discernible chorus or consistent melody, "Paranoid Android" was the unlikeliest of singles, yet it received one of the warmest receptions, as it gave the crowd a chance to both sway slowly and headbang in the same song.
Radiohead continued with "Karma Police" (during which nobody seemed to notice that Yorke messed up the lyrics), "Bones," "Just," "My Iron Lung" and a surprisingly quiet rendition of "Let Down." What was even more surprising was the audience's response, or lack thereof, that this second single off of "OK Computer" evoked. As the only mainstream song on the album, it is sure to be Radiohead's biggest hit this year, but no one seemed to notice that it was being played.
The crowds were given a further chance to abuse their bodies during vigorous versions of "Sulk," "Black Star" and an especially exhilarating rendition of "The Bends," before Yorke slowed it down again by getting behind the keyboards for the haunting "Subterranean Homesick Alien" and the disturbing "Climbing Up the Walls." Finishing off its lengthy set with "Fake Plastic Trees" and, appropriately, "Street Spirit (Fade Out)."
The obligatory encore included the essential Radiohead staple, "Creep," the band's biggest hit to date, off of its first album, 1993's "Pablo Honey." Although the crowd was by now drained, this first encore was not enough, and in a pleasant surprise that somehow only a handful of fans seemed to appreciate, Yorke appeared on stage alone for a rare acoustic rendition of "Thinking About You" from "Pablo Honey."
The crowd awaited a third encore, but the house lights were finally brought up and the physically and emotionally exhausted fans, as they began their relentless quest for a glass of water, were left to contemplate the sheer showmanship of one of today's most interesting rock bands.
-Ryan Posly Michigan Daily Online
03.09.97