The Observer’s pop critic Kitty Empire produced this review of ‘King Gizzard and the Lizard’s’ concert live in London. She successfully draws the reader’s attention quickly by providing a humorous anecdote of the concert before providing imagery of the band’s attire – thus I can now envisage the event. Kitty does not refer to her own authority on the matter in the article, however, you can click on her profile which states she has written for numerous acclaimed magazines and appeared on numerous T.V. shows, including NME and BBC Music, which adds legitimacy to the review.
The content and tone are very casual and colloquial, which I believe to be appropriate as this is an online review primarily targeted at ‘Gizzheads’ – fanatics of the band and psychedelic types not too fussed about the formality of things.
She goes beyond the facts of the event to great effect, as she discusses the band’s influences, and alludes to their signature sound ‘Three guitarists often play the same rampant, sour motif in unison’ and origins in Geelong. I would not say the article is overly opinionated or ‘objective’ in a sense until the final paragraph, where she states
“All of tonight’s controlled chaos feels like a much-needed corrective to a rock soundscape that seems increasingly sensible, if not downright careerist.”
The reader can thus deduce King Gizzard are renegades of rock, taking the genre in a new direction amongst a time of rock and roll torpor.
I will critique Empire’s discussion of the event itself. While she very successfully describes the aesthetic of the band physically and musically, I think she lacks a real in-depth discussion of the event itself. I think it would benefit from discussions such as what songs were selected from what album/how expansive it was. She could also discuss the venue’s atmosphere beyond the brief introduction, and perhaps that impact on the concert.
Contextually, Empire does a great job. She makes reference to King Gizzard’s emergence at a prolific time for Australian music, including Tame Impala, Pond, and Courtney Barnett and references ‘The Riverboat Song’ for a musical guide to comprehend King Gizzard’s sound.