No Justice

“Parisians Gaspard Augé and Xavier de Rosnay - aka Justice - first came to attention half a dozen years ago with their mashed-up noisy remixes for the likes of Franz Ferdinand and their re-do of Simian’s We Are Your Friends. Since then, the duo released 2007’s seminal debut, and toured the globe with a giant cross, laying waste to every dancefloor they came close to. Now, they’re back with the follow-up - and it seems they’ve been dosing up on the hard rock of yore. While the duo did much with noise and distortion on their debut, Audio, Video, Disco leaps into a more hair-friendly area. Led Zeppelin are mentioned within the first sentence of the press release, and there’s a general air of double-necked guitars, dwarves dancing around monuments and fast livin’ with seafood excess - shenanigans inspired by the likes of the aforementioned Zep, as well as The Who and Blue Öyster Cult. Daft Punk touched upon this ground lightly with their Discovery set, which brought in various AOR types in from the cold. However, this is an all-balls-out affair, and a determined bid for stadium disco mental-ness.”
- Ian Wade

I’m not a great fan of ‘dance music’ (for want of a better word) but just occasionally something comes along that takes my fancy, exhilerates and even inspires. Thinking back to some truly great recordings and pondering on the why - besides the obvious skill, production - these recordings offered more; more melody, more adventure, more distinction, more music - much more music. Names such as Moby, Daft Punk, Leftfield, Death In Vegas, Massive Attack, Underworld, Prodigy and a few more. However, it also occurs to me that, more often than not, that the name ‘dance music (and all its sub-genres) does not tell the whole and that all too often even the best acts release a minimum number of truly great albums.

Justice released their latest opus AUDIO, VIDEO, DISCO last year and it received a mixed response from critics and fans. I loved it. Listen to opening gambit ‘Horsepower’ and you’ll hear big band, rock, melody and excitement by the truckload with production to die for. It dwarfs the David Guettas of this world. As always with me, it’s the album that’s the guide to whether I want to cover the act live, or not. I get the OK and off I go to Manchester’s Academy 1 venue with my overload of camera equipment and more than a little anticipation of the night ahead.

I arrive to find smaller than anticipated crowds; it’s far from being a sellout gig; and on approaching the stage am greeted by an awesome sound set-up. Two banks of  9 non-functioning Marshall amp fronts flank a masked central construct which will obviously house the duo. Over to the far right is, by comparison, a modes, miniscule DJ set-up where support act DJ Pone and DVNO will ply their wares and hopefully add even more heat to an already excited audience.

The two DJs fulfil their role with enthusiasm and verve. They even throw in some classy vocals along with music that builds to massive crescendos that thrill the audience. Hell there’s even singlalongs most notably when the guys play out with a wonderful version of the Undertones’ ‘Teenage Kicks’ - a master stroke! And sounding even better with this massed, live chorus…
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I have to say I’m seldom disappointed by a gig as I’m pretty selective as to what I photograph and review. But as the covers were removed from the central podium of electronic boxes, twinkling lights and the trade-mark, large white-lighted crucifix my heart sank. I had been given a generous 15 minutes to photograph the duo and had even been advised that I could use a flashgun which is extremely rare, but I wasn’t sure that I could see the guys from where I was located in the photo pit. I also thought that there would be several photographers alongside me - there were none. Could the following be the reason?

Yesterday a photo surfaced of Justice performing that had Gaspard playing a controller that was clearly unplugged. Some minor controversy has arisen over that (how dare a band that doesn’t play instruments fake like they’re playing controllers!), but URB has a response from Gaspard, where he says it was clearly a mistake, and the photographer just took the picture at an inopportune time: “Yeah, shit happens! I remember the story, I couldn’t remember the city but i think it was in Manchester. I didn’t noticed at first, because as you can see I was
looking at the computer to launch the next vocal hook and right after I realised that the blue screen went black, so there was no way possible it could work. So I plugged it back in, big deal! And the next thing you know is this picture.”

Whatever the reason I had been blanked out as the duo began their set and could not be seen. Even one of the security staff commented to me that I was wasting my time. I spotted a small crack in the structure through which I caught a glimpse of Augé and shot away until I was told I would have to leave as my time was up. If the guys did not want pictures taken or if I had been advised that photo opportunites of the guys would be very difficult that would have been fine, but it felt like I was being taught a lesson because of somebody or something else that did not involve me. This feeling became stronger when as I walked away the duo appeared above the crucifix…

Trying hard to cast aside disappointment and not a little anger, I retreated to the back of the auditorium following an explosive show opening featuring ‘Genesis’. Musically, Justice triumphed as they reprised past favourites such as the massive D.A.N.C.E. but the real meat in the sandwich came with the newest songs. ‘Horsepower’ just took my breath away while the heavily layered ‘Canon’ and vocalised, simpler ‘On ‘N’ On’ exhibited everything that is right with the latest album. ‘Civilization’ seemed strangely out of place amongst this company and was always a surprising choice for the duo’s first single. ‘Helix’ and highly original ‘Audio, Video, Disco’ were also highlights of this effectively ‘best-of’ set.

The generally older audience had grown to near-capacity by the time the show started and showed their appreciation from the very first note. Put simply, this was a massive show and the finest ‘dance’ gig I’ve witnessed. However, it was one which left a sour taste and the distinct feeling that all was not well…