I once had the enormous pleasure of meeting the director John Carpenter at the National Film Theatre, where he’d presented a lecture on his idol, Howard Hawks. I pointed out that he’d paid homage to Hawks’ westerns (Assault on Precinct 13) and science fiction (The Thing), but never tried his hand at a ‘screwball’ comedy. He joked that he might do just that, but with only two movie credits this century (2001’s lacklustre Ghosts of Mars and 2010’s barely-released The Ward), it’s unlikely we’ll ever see him in Bringing Up Baby mode.
In any case, Mr Carpenter is now pursuing a different path, albeit one which feeds on his parallel career as a soundtrack composer: rock star. Which is why Saturday evening found me at the Victoria Warehouse, a short distance from Manchester United FC’s home ground. The European leg of his Release the Bats tour had originally included two nights at Manchester’s Albert Hall, but a switch in promoters precipitated a conflation of both events into one venue, a massive concrete box with all the ambience of a multi-storey car park (and comparable acoustics, according to some who ended up standing at the back). A makeshift sign near the entrance alluded to Escape From New York, but the building itself was a far more convincing nod to that movie.
Doors opened at 6:30pm, and most of the 4,000 ticket-holders seemed to have made their way inside by 7pm, but other than a couple of technicians, the stage remained empty until 8:30pm. Luckily, I’d managed to finesse my way into the balcony area, which offered very limited seating, but the vast majority who’d expected to watch the concert in relative comfort were instead forced to stand for three hours with a restricted — or non-existent — view of the 75-minute set.
The sole saving grace was the performance by Mr Carpenter and his band, which was excellent, although the balcony may have been the only place where it could be properly enjoyed. In amongst the instantly recognisable Halloween, The Fog, Big Trouble in Little China et al, we were treated to tracks from his two volumes of Lost Themes, belted out in a mesh of synthesiser and heavy guitar.
So, great gig, lousy location. To quote Beth Abbit’s review in the Manchester Evening News, “It’s disappointing that this highly anticipated opportunity to see a hugely iconic movie man at work was hampered by an unsuitable alternative choice of venue.”
Please note that whilst I welcome comments, you accept full responsibility for the accuracy of any statements made. All views are your own.