You can capture a gig or live performance in a straightforward and basic manner, lazy even, and the devoted fans will still devour it in their droves… repeatedly. The amount of hits a rather wobbly, crackly and generally poor quality phone video can achieve on Youtube confirms this theory as an unfortunate truth in 2012.

As a bone-fide music nut I have watched copious amounts of  live films over the years and what they have to offer the viewers varies a considerable amount. That said, how one judges the success of a live music film depends on what you look to achieve from watching it. If I have been to the concert in question, a film that manages to transport me back to the moment is one that will get a big thumbs up. If the film captures a gig I wasn’t lucky enough to attend, then I want it to make me feel like I am there soaking up the atmosphere, feeling the bass inhabit my chest and getting blinded by the darting lasers. If the band are particularly fascinating or charismatic then I like to be treated to a behind the scenes featurette , one where we get an insight into their unique prep before hitting the stage and some good ol’  band-mate banter.

Some acts go for quantity in their aim to please, gifting the viewers with as many extras as possible, from commentary and interviews to the more gimmicky options that might excite for a few minutes. Some of my favourite examples of live music films have been powerful in their simplicity – their no fuss approach mainly successful thanks to it the fact it is documenting a particularly iconic or landmark gig, or the location particularly epic – leaving little need for anything else.

Adam Smith, the film/video maker who has been collaborating with the duo for around 18 years, appears to have covered everything and then some with his capture of the Chemical Brothers live experience. However, unlike many, the various measures haven’t taken away from the splendor of the music – they have only enhanced the overall experience for both film and music lovers.

First up, the the location. Japans Fugi Rock festival, also known as the Glastonbury of Asia, is renowned for being one of the greatest musical events across the globe. The setting is exotic without being completely distracting, and the crowds are vast and enthusiastic reminding us that the UK have a hugely internationally successful duo in the shape of The Chemical Brothers.

But there is one particular decision which has had the biggest part in the films success. It’s one of those things that seems glaringly obvious now that it’s been done. Having cameras within the crowd, looking towards the stage as well as angled on those absorbed in the shows theatrics, is the most effective way of being able to teleport you to that moment – gifting you with the feeling that you are really there. I‘m not sure if it’s a good thing or not but you can almost smell it – any festival goers will be able to recall that smell, a not altogether pleasant concoction of new and fermented sweat combined with a whiff of campfire smoke. It is also easy to imagine that specific sense of heat, steam resonating off the kinetic audience bodies that surround you in the crowd.

Smith also decided to concentrate on a few particular Chemical Brothers fans, the choice people naturally extremely accomplished at relaying to us cinema goers the marvel and spectacle taking place. From filming their ever-changing facial expressions we are ‘given privileged insights into the private moments of joy, fear and ecstatic escapism from reality that this show induces’. The main girl  focused on throughout is obviously extremely easy on the eye, but she is also extremely expressive – for instance we see her recoil in fear when the scary painted faces start talking ghoulishly from the stage. One of the main guys looks almost zombified by the experience, in an almost trance like state as if the two men at the electronic helm are god like figures sent to control minds. You also see him euphoric when his favourite track revs up and gaze to the sky as if to say thank you to some higher power for putting on this show and creating that moment! Featuring non actors and putting them in the spotlight might not have worked out, they could have hammed it up or looked awkward and unnatural . In this case they don’t appear to amend their behaviour in front of the camera, perhaps because of the unitrusive equipment used or perhaps it is merely because the concert they are witnessing is of far more importance to them.

Another aspect of the film that sets it apart from the norm is it’s decision to include sequences out in the outer space of the festival. As well as seeing Smith’s images projected on to the foliage and stalls, integrating them fully in to their surroundings, the well chosen audience members are utilized once again, this time outside of the concert mayhem. In keeping with the psychedelic mood that the music creates these sequence have a definite trippy vibe.  Adam Smith seems to be able to re create that feeling of being tipsy ( or being affected by something stronger) extremely well – I won’t dare ask why he is so accurate with his film interpretation! We have seen similar from Smith before with his brilliant video for The Street Blinded by The Lights, which sees Mike Skinner walk through  a haze of club revelers.

Say this incredible film hadn’t been made though, we should still take some time to appreciate the visuals Smith created for the screens at the gig. All images obviously work seamlessly and in tune with the music, however random, obscure and abstract they appear to be. What should be noted is how they enhance the music, somehow giving it added powers. The Jellyfish were hypnotic, the bouncing light flares equally suspense building, and the distorted and merging bodies somewhat beautiful.

I used to always beg my Ma for a few quid to have a ride in those simulators, the ones you find at temporary fairs or The Science museum. My mind was completely blown when I got to go on the Back to The Future and Star Wars rides at Universal Studio’s. It was unsurprising that I found particular thrill in being sucked into a journey within an architectural drawing at one point during the film.

While I don’t mind a low-fi, rough around the edges sort of concert film – they have that so called ‘hipster’ charm, this is a masterpiece deserved of its cinematic screening. If you haven’t really been a fan of The Chemical Brothers music before I believe this film will likely change that opinion. I would say it is almost impossible not to get carried away  while watching this mind-bending spectacular.

Tom Rowlands: “In the recording of a single show – a single night on a Japanese mountainside – Adam Smith, our long time collaborator, has managed to capture the atmosphere of a very special festival appearance.  Come see how it feels to feel, be overwhelmed, intoxicated, swoonerated…  Surrender to the void”

Ed Simons: “This film is the closest I will ever get to being at a Chemical Brothers show…  and yeah, it’s a beautiful experience.”

I caught up with the extremely talented Adam Smith, who has previously Directed Little Dorrit, Skins and Dr Who as well as a catalogue of brilliant music videos.

The Chemical Brothers: Don’t Think

+ Q&A with Director Adam Smith

taking place at BFI Southbank on Feb 3

The Chemical Brothers: Don’t Think + Q&A
UK 2011. Dir Adam Smith. 85min
Tickets £13.75, concs £10.25 (Members pay £1.50 less)
Fri 3 Feb 20:30 NFT1

www.thechemicalbrothers.com
www.omniversevision.com
www.dontthinkmovie.com

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About the author

Sophie Eggleton
After finishing her Fine Art degree Sophie went on to gain experience within the fashion teams of UK magazines Eve, Glamour, Elle, First and Vogue . She then spent time as a stylist assistant for publications including NME and Easy Living, then combined her art background with fashion at Alexander McQueen, as an artwork assistant. She currently freelances as a Music/fashion journalist writing for online and print publications including The Guardian, Disappear Here, Bring The Noise, FASHIONMUSICSTYLE, Stylebible, Guestlist as well as LDNfashion twitter. North, South, East or West? South High Class or Common or Garden? In the middle of Common and High Class Clothes or Culture? Both of course! Visiting a gallery in your finest outfit for instance! My best night out ever made me feel... Like I was lucky to be alive...but that cocktails aren't always my friend