Arctic Monkeys Glastonbury 2023: The view from Worthy Farm
Staggering away from the Pyramid Stage, the narrative that ran amid the sweaty masses was a lot of people citing childhood dreams, envious remarks, and lusty asides for the handsome members of the generational band. For all the world, Arctic Monkeys had proverbially smashed it. So, imagine the surprise when it became clear that the view from Twitter was decidedly less complimentary (sarcasm well and truly intended).
However, rather than a staggering indictment against social media, it would seem that the disparity is indicative of some of the teething issues that the band in transition are currently encountering. Being at home with a cuppa with the ability to voice criticism if one dull note in a million is not to your liking is obviously a skewing element, but so too is the mishmash halfway house that the band currently find themselves in.
Fundamentally, the group who yelled ‘Mardy Bum’ and the one that now croons about lunar lounge music are too entirely different entities. But it is patently apparent that the live evolution from one to the other is not complete. Their most recent outing, The Car, is a record that certainly doesn’t crave the live stage in the same fashion as ‘A Certain Romance’ and when bangers like ‘Brianstorm’ are nestling alongside ‘Sculptures of Anything Goes’ in the same set, this becomes patently apparent.
The Car was rightfully lauded upon release but so was Tinariwen’s recent melding of country and Saharan blues, but you wouldn’t necessarily put that on the Pyramid Stage either. In essence, Arctic Monkeys are now simultaneously a stadium band and a cult act; they are The Fall and the Foo Fighters, Tom Waits and Oasis. Contrary to what Twitter says, that is, in fact, a feat that makes them masters of their craft. As a songwriting force, they are pretty much unrivalled at the moment, and in years to come, their evolution will be cherished like David Bowie’s creative wandering before them.
That crowning element is the reason why their live shows pull through in triumphant fashion. Last night, the musicology could not be faulted—the scope and scale of the set was unrivalled, and a fitting upswell of admiration was released on mass by a monumentally large crowd. You can’t help but be impressed. However, there is a notable asterisk in the midst that would be remiss not to mention. Frankly, you can’t help but feel a slight exhale when you waver from the mosh of ‘Teddy Picker’ to the respectful sway of ‘There’d Better Be a Mirrorball’.
This is amplified further by the one criticism that can rightly be hurled at them: they aren’t the most universally endearing showmen. While Turner’s posing coolness might be artfully notable, it certainly doesn’t get you onside in the same way that Pelle Almqvist of The Hives’ perfectly comical patter. And while there are different strokes for different folks, there is no doubting that a personable edge would help smooth those slightly jarring moments when they roll into a tune that a portion of the crowd doesn’t care for.
Ultimately, what you’re left with is utter brilliance… that almost proudly disappoints. The experience, on the whole, is fantastic, but as fans who have grown up loving them and fully getting behind the first-rate new music, you slightly feel that you also have to convince yourself that what you witnessed was some miraculous exhibition. In truth, it was closer to the well-received showcase of utter class, but I’ll be damned if there wasn’t more feeling during the Foo Fighters thrashing out an adrenalised wallop of very similar crowd-pleasing songs.
Alas, that is the game, and Arctic Monkeys certainly aren’t losing by going their own way. However, they do also seem to be shedding skin, deciding to brave a few disgruntled fans who aren’t willing to join them on the moon and embracing unimpeached creativity at its finest. In a decade’s time, when they swagger onto the main stage that will reap its rewards, but now they are Bowie in the 1980s/90s, a little lost under their own artistry, superb but not quite ‘crowd-pleasing’, which is, obviously, what a lot of people want, weirdly when it is also more-so what people want who aren’t on the ground, basking in their brilliance and trying their best to ditch irksome asterisk that although impressive, it isn’t quite as euphoric as it might be.
