BILL BAILEY has opted for the path of simplicity on his current Australian tour. Not the dreadful punning found in most comedy show titles. He’s called it Bill Bailey Live. It’s a reflection of the show’s modest origins. “I’ve prepared a little bit differently this time around. The last tour in the UK was in large venues so it was a show with that in mind. Whereas this tour is in smaller venues way out in the middle of nowhere… Outer Hebrides, Orkney, Shetlands. Stunning places where no one really goes to play.”
Far from representing a fall from public favour, it was a deliberate move by Bailey to return to his roots as a stand up performer. “It’s been a revelation!” he enthuses. “Because I was touring around little community centres I had to strip everything down to its basics. It’s been a real rediscovery of the art of it all.” And a discovery of sorts – “you pretty much know everyone’s name by the end of the show.”
Despite venue size it wasn’t exactly a breeze for the seasoned comic, who is used to playing in arenas where crowds are measured in thousands – not handfuls. “In a way it’s harder. It sounds bizarre, but it’s harder to build a show from a small audience. When you’re on stage and there are a lot of people, they tend to blend together – so you just project the show to the back row. Whereas if you’re in a small venue you can see everyone, you can see their faces!”
As a result the subject matter of Bailey’s new show is more personal and more intimate. In addition to the usual array of keyboards, guitars and songs there will be short films and a visual element of the show that isn’t so easy to pull off in large stadiums. His grand plan was simple, developing a show that could be done in the back of a pub if need be. When reminded of the potential hazards small shows present – getting tackled by an eager spectator a la Slash in Milan for example – he’s sympathetic. “That’s above and beyond the call. But Slash is pretty cool and one of his solos could probably knock down a mugger anyway.”
In April, Bailey played the enormous Ashton Gate Stadium – home of Bristol City FC. It was a triumphant homecoming. “I grew up around there in a little town called Keynsham. Bristol was the big smoke, so going back was a big moment for me. Lots of family and friends were there… it was an emotional moment.”
For a young Bill Bailey, Bristol was the cultural and musical epicentre of his universe, the place where his musical education began. “I used to go and see bands there all the time – Undertones, Siouxsie and the Banshees, The Damned, the Stranglers.”
And if you’ve seen Bailey live, you’ll know music is an important part of his live act but it’s not a cheap, jokey, ‘let’s have a laugh at this band’ parody thing he’s aiming for. “No, the musical things tend to be more a recognisable style of music rather than a certain band. Every so often music reinvents itself into a different style – dance music will morph into electro and incorporate retro elements of drum ‘n’ bass, for example. And each time it does that it captures the public imagination for a while. That’s what I use, the familiarity. That’s what the musical sections of the show are about. It’s a form of musical shorthand – ‘oh I see, I know exactly what you’re doing.’ And once you have that familiarity you can mess around and have fun with it.”
Bailey would be most recognisable for Australian audiences as Manny Bianco, the serene yet somewhat dazed and gullible ex-accountant assistant to Dylan Moran’s chaotic Bernard Black in Black Books. He also turns up occasionally on QI (ABC, Tuesday nights) and when in town usually a spot on Spicks and Specks (ABC, Wednesday nights) – which, to the most even-handed of judgements, is an inferior copy of Never Mind The Buzzcocks, the similarly music-themed panel show up to its 23rd season in the UK.
For around six seasons, Bailey played the role of team captain and was witness to some of the more exciting incidents on the show. “Usually the pop stars that had written their own stuff were pretty cool about it – they were up for a laugh. But some would be terribly precious about having the mickey ripped out of them. I remember reading a brilliant description of Buzzcocks – a vinegary tang of mockery. When Marl Lammar [all-round media personality and current co-host with the brilliant Mark Radcliffe, who also features on Radio 4) was hosting he could barely conceal his contempt for most guests. But if you don’t take yourself too seriously you’ll come out alright.”
The problem is musicians have notoriously fragile egos. “One guy got so nervous he actually ran out the building. He just legged it and kept on going! There was a Benny Hill-styled chase with management trying to stop him. He made it to reception and got stuck in those revolving doors. Then he ran across the forecourt until someone rugby tackled him and dragged him back in.” Is it any wonder Bailey’s quirky observational humour wins awards – this stuff is gold and just writes itself.
Catch Bill Bailey live at the Royal Theatre on Friday July 30. Tickets are $79.90 and are available through Ticketek.
