Photo: Wenn
Alexandra Palace is packed to breaking point. For most artists Jake’s age, these walls excite and intimidate in equal measure – touting a gold ticket to arena tours for those who pass, but spitting out chokers with venom. Yet Bugg’s no normal 20 year-old, as someone who has already headlined at Glastonbury, this is child’s play.
His nonchalant arrival on stage confirms as much, unflinching at facing the delirious screams and camera flashes, suggesting he’s not so far removed from talent show pop stars he professes to despise. Things kick off without a word of warning; 'Messed Up Kids' strummed out tightly, in a measured rather than ramshackle way. Eventually a softly spoken “Good evening London,” can be heard from the stage.
Leather jacket and Beatle bob firmly in place, it’s difficult to deny Bugg's poster boy appeal, especially under the lights that illuminate the stage during 'Seen It All'. Aided by a bassist, second guitar and drums, there’s a sense of weight, sometimes occasionally missing on record.
For all that the image is played out to reluctant perfection, it’s clear the mass appeal also stems from the breadth of song. The crowd varies vastly in age – from teens to kids on uncle’s shoulders – precisely because Bugg can fall back on tracks like 'Clouds Roll By' and 'Me and You'; 60’s inspired country ballads that hark back to a sound long forgotten by the industry. Expect feet tapping from the elders, lighter and mobile phone waving from the youths.
Fortunately, Bugg is saved from any crowd pleasing country clichés by the fact he’s vocally sublime live. And when he does truly shed the barnyard schtick for 'Two Fingers' – one of his strongest, supposedly autobiographical numbers, it’s impressively bold. The rockier tones fuel the latter half of the show. In the blink of an eye the jacket is off and we’re into electric guitar territory – referencing everything from Stones’ licks, to the 90s guitar riffs on “Simple Pleasures”. Not a foot is put wrong. No wonder Noel gave him a thumbs up.
By the time “What Doesn’t Kill You” rolls around, the room is buzzing, doused in Bugg’s bellowing drawls. Yet he’s also not afraid to switch things down, reducing the room to silence with “Broken” until the chorus leads to a full singalong. Rumoured to be about a friend who committed suicide, there’s a sense of welcome authenticity and genuine pain. “You’re alright for a London crowd”, states Bugg after Lightning Bolt causes a near mosh-pit. He’s probably joking.
