This must be a superb time to be a Steely Dan tribute, the band having become ever more trendy over the last few years. As a child spending hours listening to my mum’s records, it would have been impossible to believe that in 30 years time the same tunes would be put on rotation by some of the world’s most fashionable DJs. It would be like tuning in to NTS and hearing Dire Straits being blasted out. Nevertheless, we are living at a time when it is not unusual to walk into a club at 1am and hear Black Cow or Hey Nineteen coming out of the speakers. Steely Dan were also rarely much of a live band, instead dedicating huge time and energy to working in the studio, meticulously perfecting their slick sound. In that regard, seeing the highly polished Nearly Dan is as good a live ‘Dan experience as fans could ever hope for.
Professing to be more of an homage than a tribute to the original group, Midlands-based Nearly Dan have been faithfully recreating Donald Fagen and Walter Becker’s unique sound for three decades. It is no surprise then that they are as tight as the bolts on the Suspension Bridge for tonight’s sold out gig at St George’s.
The 10-piece band begin with the easy-going rock of The Boston Rag from 1973’s Countdown to Ecstasy before immediately entering Steely Dan’s more jazzy period of lounge grooves with Home at Last. From the off, this typifies the breadth of ‘Dan’s appeal, segueing from early 70’s Americana rockers to the ultimate jazz-funk and taut pop of their later career. Frontman Steve Hayes references this in one of his many sardonic asides, suggesting that they could do whole shows dedicated to Aja, or The Royal Scam, or any one of the band’s several outstanding albums.
Usually the introduction of “new material” brings a groan from an audience. In this case, however, this refers to the late 90’s Jack of Speed, from the oft-overlooked latter day Dan album Two Against Nature, with it’s sizzling guitar lines. It highlights how well the tonight’s band cover the span of material available, selecting tracks from nearly all studio albums. Such is the devotion of fans, Hayes pre-empts any potential disgruntlement with certain tracks being left out. Indeed, it is incredible that the set list is so strong and yet is still able to omit stellar songs like IGY, Time Out of Mind or Cousin Dupree.
The band is universally talented and skilful in recreating the original songs. Ollie Collins shows incredible dexterity on his six-string bass, particularly on the fluttering lines of Kid Charlemagne, inspired by San Francisco’s first producer of high quality LSD, arrested after his car ran out of petrol. It contains one of the silliest, most basic lyrics in history, and as Hayes sings out “Is there gas in the car”, the crowd euphorically cries back “Yes, there’s gas in the car!” Meanwhile, the joyous guitar solo originally laid down by Larry Carlton is recreated fantastically by Nick Mellor. In fact, Mellor is on blistering form throughout, not least during Reelin’ in the Years, the prolific, irresistible fret workout that inspired air guitar workouts in bedrooms throughout the world.
Steely Dan songs are usually characterised by powerful guitar work, soulful brass and cynically satirical lyricism that would apparently have Fagan and Becker rolling around laughing during song writing sessions. Hayes does an excellent Fagan impression, and the superb brass section of trumpet and twin saxophones brings a robust funkiness to the songs, Rob Buckland, Phil Nicholas and Tim France taking it in turns to show off their skills.
From the slick, Balearic bassline of Black Cow to bluesy Don’t Take Me Alive and Pretzel Logic, the band skip from one classic to another, all stitched together by Hayes’ self-effacing humour and clear love for the original material. “We’re going to play one we know now”, he suggests modestly, before launching into the tight funk and world-weary humour of Hey Nineteen. Later on, as his guitar goes out of tune, he decries the tragedy of of having “a slippy G string”. It’s fantastic and unexpected to hear Greenflower Street from Fagan’s solo album The Nightfly, while other standout moments include Josie and the closing track My Old School.
Steely Dan were such a precise and meticulous outfit that recreating their music requires huge skill and dedication. Nearly Dan clearly have this in spades, visibly enjoying their work. They successfully manage to keep lifelong Dan fans tied to the mast.
