You can’t build interesting music on nostalgia. There needs something new, something that says something about today. Just like The Strokes and Vampire Weekend did when they did something new with old ingredients from the pop cultural back catalogue. This was my fundamentalist belief until last year, when Nick Waterhouse somehow made it to my ears. I don’t remember how. He just stood there one day, without making it big anywhere really, although I’m happy to see he’s following grow, since it’s taking him to Europe now and again, so I’ll get to see him. Two times within a month. Why I am telling you?
Because even though (or because?) it sounds like you just stepped into a Tarantino movie, where some cool characters might twist while looking deep into each others eyes in some kind of Pulp Fiction throw back, or get drunk by looking bad-ass behind some over-sized sunglasses, Time’s All Gone was one of those albums which stayed with me throughout the year. Its gritty old school r&b sound, 60s soul feel, the thumping trumpets. Music which makes you walk strange to work, playing air drums in the park, wanting to pull out random dance moves among meticulous suits. Just because it sounds so alive in the middle of the dusty recording. The energy and force is very now, you’re a fool if you let someone like old me tell you it’s just nostalgia. Nick Waterhouse has no time for fundamentalists, he just shoves another brass trumpet and tricks your feet into doing a miniature tap dance ritual under the office desk.
Nick Waterhouse play’s Primavera Sound in Barcelona on Friday 24 May at 18:40, and at Jazz Café in London on Saturday, 8 June. I’ll be the Sweaty Swede at both those shows.