July 12, 2002 at the Brixton Academy, London from NME
Massive here, now big over there on the back of sold-out gigs and rave reviews, there was never any doubt that America would fall for these hot-blooded Swedes who, if they're not the sharpest rock'n'roll band in the world today, do an impeccable impersonation of how one should behave. How could anyone resist a group resembling a mafioso Monkees fronted by a Quentin Blake caricature of Mick Jagger in his pouting, pigeon-chested prime?
If The Hives are the righteous, cartoony saviours of rock (and they are, judging by the numbers arriving tonight clad in regulation black and white), then with their latest album, Idlewild are rapidly scaling the same peak from a different, more worthy angle. Adored, worryingly enough, by Radio 2 and Bryan Adams, the Scots troupers have dispensed with the harsh toilet-trainer Sonic Youth tactics of old and hit upon a rich, melodic seam that owes as much to 'Green'-era REM as it does vintageSmiths. But any suspicions that Idlewild might be enjoying their new-found glory are roundly crushed by an earnest, charisma-free performance; it's odd that such a literate and articulate group still refuse to engage their audience between songs. What is clear, however, is that 'When I Argue I See Shapes', formerlyIdlewild 's finest moment, pales when they close with mercurial new single 'American English', an anthem that could well prove their Stateside calling-card.
By contrast, The Hives amp up the brightness and volume to such an absurd level that we'd need industrial eyewear to be shielded from their cocksure brilliance. In 'Main Offender' and 'Hate To Say I Told You So' they have Ramones-dumb classics in the use-once-and-destroy mould, while Pelle - the beautiful bastard lovechild of Little Richard and Freddie Mercury - is a freakish modern icon who moves like Nureyev but hollers, fittingly, like Iggy. "There ain't nothing more of a crowd-pleaser than The Hives!" he crows before 'aka IDIOT', running a hand through that glossy helmet of hair.
Madison Square Garden won;t know what's hit it.
by Dani Rutherford for XFM
Sometimes, when the hype machine is in full effect, it's hard to see a band for what they really are. The hoo-ha surrounding The Hives is a perfect example of this. Their title of their Poptones compilation ‘Your New Favourite Band' sums up the belief a lot of people had on the basis of only hearing the two singles, ‘Main Offender' and ‘Hate To Say I Told You So'. Since the dust has settled a slightly clearer view of The Hives' bold declaration can be seen, and they couldn't be further from the truth.
On record (albeit four tracks) The Hives sound fresh, exciting, and exhilarating. A youthful, handsome, garage rock band with attitude. On stage two of them look as out of place as Michael J Fox did in ‘Back To The Future' when he picked up the electric guitar at the 1958 end of school year dance and started playing a 80's rock solo. This it seems does not matter to anyone else, as tonight The Hives can do no wrong. The crowd clearly adore them, loving every song, every pose, and every small leap from an amp. Some have even attired themselves in the uniform black trousers and shirt with white ties.
Legend has it that the last time The Hives played Brixton, the set lasted 30 minutes (like the album). Tonight however, Howlin' Pelle Almqvist pads out a limited back catalogue by spouting nonsense over drawn out bass lines, for well over an hour. It's a shame because when The Hives play ‘Supply And Demand', ‘Main Offender' and ‘Hate To Say I Told You So', it's impossible not to get caught up in the infectious riffs and screeching sing-a-longs. What is possible though is that this level of attention and affection has come too early for them and they've been rushed into playing headlining shows at big venues without the necessary material. Maybe in a year they will live up to the hype poured upon them but as it is now, and on the basis of tonight's performance, The Hives no longer cut it.
