His 'n' Hers UK Tour
Note: this setlist is incomplete and possibly wrong.
I'm certain that this setlist is wrong or, at the very least, incomplete. They definitely also played His 'N' Hers, O.U. and encored with David's Last Summer. I remember this as Jarvis returned to the stage smoking a cigarette (Embassy if memory serves) after the band had started playing. It was dark and the drags from his cigarette were in time to the opening bars of the song. A girl asked for his 'dog end' at the end of the gig! The 'unique percussion instrument with his microphone and groin', referred to below was when Jarvis inserted the microphone down the front of his trousers and started hitting it through his cords turning it into an erotic crotch drum. I am certain this was during the instrumental section of His 'N' Hers. During this song Jarvis also climbed up to the top of the speaker stacks at the side of the stage, they were pretty high.
It's always nice to see someone succeed when it seemed unlikely. Especially when it's Pulp, who took more than a decade before anyone outside the city noticed they existed.
After this tortuous time they look like finally becoming this area's first proper national pop stars since the glory days of Oakey and Fry.
But whereas those two originally came from elsewhere, Pulp are simply steeped in local history — so it was thumbs down from the stage for Meadowhall and Supertram and thumbs up for the Hole In The Road, while many song characters seem familiar.
When specky-stick-insect-as-sex-symbol Jarvis Cocker posed and preened like the revenge of every kid who nobody fancied at school — at one point creating an unique percussion instrument with his microphone and groin — the large crowd simply loved it.
And the band are no slouches either, with their top ten album His 'n' Hers, proving remarkably strong and versatile. They're getting bigger and better every day, but even if Pulp-mania sweeps the country, you can guarantee their souls will always reside in Sheffield.
A mere twelve years since I last saw Pulp live, and I'd been looking forward to this triumphant return. Pulp, too, seemed to relish their homecoming - no hint of condescension towards the 50% of the audience who'd never heard of them six months ago. Jarvis is on the kind of heavy-duty nostalgia trip I like, though even a Luddite like me had to cringe when he started pining for the Hole In The Road and ranting against Meadowhall and Supertram ("It's turned Sheffield into a building site" - vote Jarvis Cocker, your reactionary candidate in the local elections!). Sadly many there were too young or too new to Sheffield to fully appreciate the deeply symbolic nature of change in Sheffield. For all the seventies comparisons Jarvis's melodrama-out-of-a-crisis style owes more to sixties icons such as Gene Pitney, Scott Walker and the Righteous Brothers. Punk's answer to Tammy Wynette perhaps? No question that he's a genuine star; he has the audience eating out of his hand, or out of his pockets when he starts flinging sweets at them. Rivetting, he's Morrisey with a sense of humour, Mark E. Smith without the complexes, Ian Curtis with life (l don't know if Jarvis ever saw Joy Division but that trademark hand jive looks mighty familiar) and how come charismatic singers always come from the North? No surprises in the material - it's plug the album time. I hoped against hope that they'd stick in a selection from If... or something similarly obscure, but there's a limit to nostalgia's marketability.