Johnny Marr Amazes at the Gothic Theatre

Johnny Marr used guitars and a white shock of hair to mesmerize

While he may not cut the most memorable figure in popular memory of The Smiths (Morrissey, the true bigmouth, seems to own on that throne), one of postpunk’s enduring foundational bands, Johnny Marr most definitely holds his own as a rock ‘n roll icon. Lithe, confident, and sporting his now-signature shock of brilliant white hair, he fronted a four-piece band to entertain a packed Gothic Theatre last Thursday night, cementing his musical ingenuity and prowess for old and new fans alike.

It’s Johnny Marr, after all, that’s been largely credited with saving rock from the sterile, electronic world of synth by re-invigorating the guitar in the ’80s as the tune- and sound smith behind some of the most memorable songs to come out of the mid-to-late ’80s. With flash and unflinching creativity, he built chord progressions and licks that now seem to hold a genetic link within pop culture’s memory. And he made it all so very, very British.

On stage at the Gothic Theatre, he certainly still seemed very British – if not even more than ever. Throughout a 20-song set that included no less than nine covers – six of which came form The Smiths’ greatest – he laid out a history of influence that only a few pop icons can claim as their own. Besides rousing, emotional versions of “There Is A Light That Never Goes Out,” “The Headmaster’s Ritual,” “Last Night I Dreamt That Somebody Loved Me,” “Bigmouth Strikes Again,” and the near-ubiquitous “How Soon Is Now?” Marr led his mates through two Electronic and one Depeche Mode cover. This weaving in, out, and around nearly a dozen tunes from his solo career.

And he cut a smooth, sexy – if mature – and engaging figure on that stage, alternately gyrating, stomping across the stage, and stretching his guitar-laden arms above his head, almost signaling a sort of victory. His white-shocked mop top lent him a youthful air, belying the evidence of years on the road on his face.

Unfortunately, it was the material from his solo career that seemed to drop flat in comparison to the other hits. His complex and beautiful guitar work, long the source of The Smiths unique sound, seems to have all but fallen away in his own stuff. And, while his voice is certainly adequate for both the older and newer material, a slight deficiency in charisma – at least in comparison to The Moz’s overwhelming stage prowess – was evident.

No matter, though – the audience swooned from the moment Marr and company sidled across the stage and began their set, and never stopped. While much of them were definitely in the over-40 crowd, there were plenty of youngsters to be had as well. And, once the music started, it became nearly impossible to tell the difference between them.