With the chance of a Radiohead reunion seemingly slim, hopeful fans are left to dig through the archives. It is as close an experience to a live show as they will likely get for the next few years. Hail to the Thief (Live Recordings 2003 – 2009) is a solid place to start. Apparently one of the more controversial albums from the Thom Yorke-fronted group, though it is hard to understand why. It’s a strong album which challenged the formula of marketable releases, instead opting to be an open, refreshing alternative to usual avenues of release. Beyond that, it’s some of the strongest material Radiohead has released. A refreshing and sincere look at the band in their star-studded days as some of the most recognisable musicians on the planet. They still are, but the always-online world has distilled the star power somewhat. Hail to the Thief captured that feeling at its peak, and these live versions do too.
Anniversaries are not the only excuse to release strong material. Irony tinges Hail to the Lief (Live Recordings 2003 – 2009). The issue is not in the nuance or politically charged motif of the album, but how much has changed for some of the members since these provocative and thoughtful moments. They cannot offer the same now. Yorke stands as a direct contrast to himself from twenty years ago. It makes Hail to the Thief sound like a completely different artist, one with a backbone. These performances are magnificent and highlight what Radiohead could have stood for. They shied away from this style in the releases to follow, aiming for a suitable abstract rather than a cutting commentary. It is hard not to love these live versions. 2 + 2 = 5 is an explosive thrill to open the album. Some of these songs, like Sit Down. Stand Up., are arguably better than their studio equivalents.
Live albums are faced with the sole need to transfer the energy and spirit of a show to a listener at home. On that merit, Hail to the Thief (Live Recordings 2003 – 2009) is a success. An audience interacting with these songs makes all the difference. Yorke has a sensational voice, and the intermittent clap on We Suck Young Blood is magnificent. Radiohead’s lashing out at fame as a debilitating sickness which pulls the very life out of people is a strong moment, relevant as ever. Abstract thrills on The Gloaming continue that fear of fame well. Radiohead may be on the release here, but the bulk of brilliant material comes from Yorke’s voice. Magnificent and holding the tone of the release all on its own, though there are some spirited instrumental pieces throughout. They are more backdrops to Yorke than anything that can stand alone, though.
Radiohead comes to life as a unit on Myxomatosis, a screeching powerhouse of a song. These live versions are worthy counterparts to the studio versions, sometimes better. Hail to the Thief is an album which only gets stronger the more the world falls apart, the more people fixate on the fame of those five-minute celebrities. It may be tinged in irony, given members of the band are no longer willing to make these bold and impressive stances, but there was a time and a place for Radiohead as a group that could not only challenge worldwide interpretations, but also reassess how music is shared and engaged with. They did just that on Hail to the Thief, and it would be far nicer if we could say they never looked back. They did, though Hail to the Thief (Live Recordings 2003 – 2009) is a nice reminder of what the group once stood for.
