Brighton are their musical roots and Brighton remains a home from home for The Kooks, the sometimes underrated band who attracted interest from management almost from the off (a gig at Prince Albert, I believe) such was the strength of their songs, the charisma of lead singer and songwriter Luke Pritchard, and their (subsequently) classic mid-noughties look of distressed bohemia, skinny jeans, pointy shoes and various headwear, that became de rigeur for any wannabe indie kid of the period. But above all their success was due to the classical britpop style songs of the 60s that they so effortlessly created. Their debut album made number two, while follow up Konk reached the very top. Songs such as Eddie's Gun, Ooh La, Always Where I Need To Be and She Moves In Her Own Way were superbly crafted songs that hit the sweet spot, particularly where the girls were concerned. And there was a subtle bad boy thing going on with the band too, that helped their popularity; they indulged in all sorts, while Eddie's Gun is about impotence under the influence… Naughty but nice…
After a three year gap they have recently returned with Listen, their fourth album, featuring a sound that has evolved to take take in dance, funk, plenty of percussion and an experimental edge in places – with the help of producer Inflo -, although the tight jeans are still prevalent… But we can forgive such transgressions; they are still fairly young, and to be honest, Pritchard wears them real well. But, has The Kooks songwriting matured? Well, yes and no….
 
A big factor in their prolonged absence was Pritchard's search for a new direction. Perhaps befitting someone who will be 30 next year, you couldn't continue to write those wide-eyed songs of youth and innocence, although Pritchard hasn't suddenly decided to embrace eastern mysticism or western dialecticism or anything. Not yet, anyway. But, just like The Beatles decided to ditch She Loves You for Tomorrow Never Knows, The Kooks search for identity and new musical pastures has taken them to some unexpected places, such as can be heard on Down; funk, tribal percussion, and an even more elasticated vocal performance than usual from Pritchard, possessor of both a unique larynx and some excellent dance moves. Whereas Mick Jagger always looks likes a strutting drunk peacock when dancing (complete with facial gurning) Luke Pritchard's equally idiosyncratic moves are more controlled, rather James Brownesque at times, with an added pinch of Ian Curtis and Bez in the mix. The boy can groove. Another reason why the ladies love him so.
 
Expertly blending old favourites with plenty of material from Listen, The Kooks demonstrated their continued relevance tonight. The newer material works well in the live arena, some of the songs really coming to life, which were largely well-received, particularly the aforementioned Down, but also songs such as the funky Around Town, Forgive and Forget and the rare, albeit flimsy, foray into social and political commentary via London Town, a song about the riots of 2011. There must have been quite a bit of anticipation within the band's circles as to how the new stuff would go down before they road-tested them, but they needn't have worried. Many of the newer songs sit well within the template of the Kooks previous repertoire, the pop flavours are still there, it's still generally easy on the ear, and Pritchard's distinctive voice and stage presence is the glue that binds it all together.
 
And it's not all fun and frolics for the band anymore. As well as the aforementioned London Town there was Pritchard's one and only turn on the piano, for his deeply felt lament for his father, See Me Now, who died when he was only three. Packing an emotional punch not normally suited to the band, it's a welcome sign of growing maturity, while Westside talks about 'starting a family', although it is, as he wryly points out, love song number 23…
 
Before that moment, Pritchard also took the stage on his own and gave us a couple of acoustic numbers, beginning with the very short Seaside, a song that he wrote – as he explained to the audience – while holed up in a Kemptown flat. It was one of a few moments when Pritchard took stock of the situation; that here again he was playing in the city where it all began and where it all bore fruit very quickly (earlier in the day, he and original guitarist Hugh Harris visited BIMM, which was where they met and where The Kooks were born). Much love was showered on the band, no doubt made up of a significant number who were there at the beginning. Finishing off with a rousing rendition of Naive, Luke ordered the band to stop playing mid-song as a ruckus had broken out stage front, and attempted to placate the situation. It was an unexpected moment that only added to the entertainment of the night. The Kooks once again did a great job.  
Jeff Hemmings
Photo by Mike Burnell
 
Website: thekooks.com