I’ve written before here about how much I love Jim Eno, the drummer from Texan indie-rock veterans Spoon. Watching them from a decent vantage point at the Shepherd’s Bush Empire last night gave me a little bit more insight into how he does what he does, and why it hits me so hard. But that was the least of it. It’s the interplay between all the members of the band that makes them so vital. Britt Daniel’s songs are elliptical and sometimes seem like fragments of bigger works, with changes that seem arbitrary the first few times you hear them, so it’s the band that supply the connective tissue that keeps it all together and functioning.
Firstly to deal with Eno, he’s got a few cool tricks. The maracas-as-drumsticks thing I’ve got to try; it gives a subtle 16th-note feel to an 8th-note pattern when he does it. Maybe it’d just be messy in the hands of the unpracticed. He played at least one song open handed, hitting the hats with his left hand (Rent I Pay). When he plays 16th notes on the hats with one hand, he’s got a great feel. The more I watched him, the more I thought of Charlie Watts. Ringo Starr’s key drum was the snare. John Bonham’s the kick. Charlie Watts’s and Jim Eno’s is the hi hat. Surprisingly, given the huge drum sound he often has on record, Eno’s playing is fairly light. He doesn’t use rimshots to choke the snare and get more volume and top end. He doesn’t hit from the shoulder; it’s an economical movement of the elbow and wrist, nothing more. His bass drum work suggests and R&B and soul influence.
Notably, he was the only band member not introduced by name by Britt Daniel, who just commented at one point to the audience, “Jim’s good tonight, isn’t he?” – Spoon members come and go, with Eno and Daniel the only ever-presents, and the other guys probably a bit younger (Eno’s 48!). Probably Daniel felt that Eno needed no introduction.
But he’s only one part of the collective, great as he is. There’s a lot of talent on the stage when Spoon play. Rob Pope, the bassist, is always in the pocket, providing solid low end without swamping things or getting in the way. Any contribution he makes beyond the obvious is always telling. OK, sure, that makes him the archetypal bass player, but every band should be so lucky as to have one.
Meanwhile, Alex Fischel and Eric Harvey both switch between guitar, keyboards and percussion, sometimes in the same song. Both play all three with a sure touch, whether playing squonky guitar solos, a pseudo harp solo on the keys or a Motown tambourine pattern. Their versatility is key to the band’s on-stage power, which was sometimes more telling on the quietest songs. The touches the band added during the second half of The Ghost of You Lingers made it one of the evening’s most thrilling moments, proving the group are just as effective playing off Britt Daniel’s surprisingly adept falsetto vocal as they are stomping through the Motown-esque You Got Yr Cherry Bomb or the late-Beatles-ish Don’t Make Me a Target.
If it sounds like I’m minimising Daniel’s contributions, I don’t mean to. Obviously they’re his songs and it’s his voice that puts them over, but Spoon are a band I love because of the ensemble playing, and last night – on the last night of the tour, at their biggest ever headlining show in Europe – they tore it up. It was great to see.