here's an EXCELLENT show review from nottingham news...
HIGHLY RESOLVED
by Phil Viles
The Vines, Rescue Rooms, Thursday 24th August
The fact that this gig is at the Rescue Rooms is indicative of The Vines' fall from prominence. Four years ago, amid a flurry of frenzied press acclamation, the band sold out Rock City at a time when their stellar debut album was whetting the appetites of all and sundry, not to mention moistening the under garments of greedy record label bosses.
Then, things turned. Craig's erratic and confusing behavior baffled fans and band members alike, forcing one member - Patrick Matthews - to leave the band.
Partial to indecipherable and protracted utterances, launching tape recorders into orbit during interviews, and generally being a mess, something was seriously wrong with the front man.
The gig at Rock City was at best shambolic. Craig spent most of his time sprawled across the stage floor, swaying back-and-forth and gurning uncontrollably, his facial contortions unnerving for his audience.
This display of freakish havoc was replicated throughout the tour, and in some venues, shows would end prematurely, leaving an army of disgruntled punters baying for his blood. If we could've understood why this was happening, perhaps a more lenient and sympathetic appreciation could have been extended.
But the unsuspecting public were not to know that Craig's fragile state was the result of a mild form of autism called Asperger's Syndrome - a psychiatric disorder most often noted during the early school years, characterized by impairments in social interaction and repetitive behavior patterns.
Fast forward four years. Craig's diagnosis has been well publicised and he's taken the necessary steps to combat the aloofness of his ways. Taking to the stage spruced up in the type of coat last seen on Johnny Depp's Willy Wonker character, and sporting Jack White-esque hair, Craig cuts a calmer figure.
Gone is the gurning; toned down is the intense staring; the floor-hugging has been discarded, and in their place is a smiling, contented man whose delight in being able to purport his rock n roll once more without prejudice is startlingly apparent. "How are you, you ok?", he enquires on more than one occasion, and the glowing response he receives from the sell-out audience strengthens his beaming grin.
As a warm-up show for their Carling Weekend: Reading and Leeds Festival shows this weekend, The Rescue Rooms is treated to a cross section of songs spanning their three albums. From the criminally-ignored new album Vision Valley we get miniscule shots of scatter-punk lightning bolts (the 77-minute single 'Gross Out' being the highlight), dream-state reflective summer magic ('Vision Valley') and psychedelic rock via the glowing Floydsian 'Spaceship'.
There are favourites too of course. 'Outtatheway''s 150mph blister-rock; 'Ride''s potent jangle-rock; 'Autumn Shade''s laid-back Antipodean contemplation; their smoky, drudgy rendition of Outkast's 'Miss Jackson', and of course, the song which kick-started the whole rollercoaster and portentously predicted their meteoric rise back then, 'Get Free', which is saved for the encore obviously.
Craig's vocals - once a garbled drawl sang with his tongue protruding from the side of his mouth as the gurns took full control - are clear, crisp, and even articulate. Where before slow numbers like 'Winning Days' would've been slurred, tonight they do what they were designed to do all along; that is, extract a sense of pathos from their quivering hearts.
Craig's new demeanor is exemplified on the closing numbers. As '1969' ends the first part of the gig with its prog-rocking guitar squiggles and Led Zepp drumming, Craig's mayhem is measured and controlled, never allowing himself to spiral into a freakish splurge on the floor. Likewise, encore-closer and screamo-rock spectacular 'F*** The World' sees Craig calculate the finale with explosive bursts of twisted noise, and although the temptation to plunge his fret board into the cymbals is just too overwhelming for him, it's done with calculated care and attention, delivered with cushioned taps rather than destructive lunges.
Controlled, measures, calculalated: have I really just used these words in a Vines review? Four years ago these words wouldn't have even been remotely considered when constructing a review for this band, but as 'F*** The World' clatters to its close, and as The Vines re-affirm their stance in contempory rock, and as Craig exorcises his demons in public no less, the titular command of that song applies to the doubters more now than it ever did.