By: David Schultz

Everything written about the Arctic Monkeys may not focus on whether the Sheffield youngsters are deserving of all the media hype that surrounds them: it only seems that way. Since the release of their debut album, Whatever People Say I Am, That's What I Am Not, nearly every critic and blogger has had their say in this "chicken or the egg" conundrum: have the Monkeys succeeded because of the hype or has the hype caused the Monkeys' success? Well, the answer to that question will not be found here.

The debate over the Arctic Monkeys' praiseworthiness has supplanted discussion of the merits of the extraordinarily young band and their musical accomplishments. The Monkeys' summer tour brings them back to New York City for the second time this year. A couple months ago, they sold out Webster Hall (capacity: 1400); just three months later, they're selling out the Roseland Ballroom (capacity: 3000). While increasing exposure, the endless touring that has followed the release of Whatever People Say I Am, has taken a toll on the group. Absent from the summer tour is bassist Andy Nicholson. Citing exhaustion, the 20-year-old is sitting out the American leg of the summer tour with fellow Sheffield lad, Nick O'Malley, filling in for the spent bassist.

Youth is often wasted on the young but not on this group of 20-year-olds. With only one album and an EP to draw from, the Monkeys played a perfunctory yet energetic seventy minute set of latter day, proto-punk rock. Where most young bands unimaginatively run though their limited catalog, the Monkeys avoided a night of rote recitation. Using the studio versions of their shorter songs like "You Probably Couldn't See For The Lights But You Were Looking Straight At Me" and "Red Light Indicates Doors Are Secured" as a base, the Monkeys added a little extra zest, making them fuller-length arena rockers. On songs like "Perhaps Vampires Is A Bit Strong But . . ." and the evening's closer "A Certain Romance," they explored what can be done with their lengthier material. They also had the good sense to leave their hits alone, offering straight forward renditions of "I Bet You Look Good On The Dance Floor" and "Fake Tales Of San Francisco."

It would be easy to write off any band comprised of relative teenagers as too young, too raw and too inexperienced. That simply can't be done with the Arctic Monkeys. Alex Turner and Jamie Cook traded riffs like seasoned guitarists; O'Malley seamlessly replaced Nicholson on bass, joining with drummer Matthew Helders to propel the rhythm full speed ahead. Seemingly unimpressed with the large turnout, Turner expressed his sentiment with the jaded and cynical stage demeanor of a cranky veteran. Instead of using the enthusiasm of youth as an excuse for indulgent excesses, the Monkeys harness it with a maturity belying their years. Don't place your money on the Arctic Monkeys becoming another flash in the pan; wager on them becoming Sheffield's version of The Strokes.

Labels: Arctic Monkeys