Field Music, the Mercury Prize-nominated art-rock duo from Sunderland long celebrated for their intricate, original compositions, have embarked on a path that has left their dedicated fanbase perplexed. They have, for all intents and purposes, become a dedicated Doors cover band.
A Sudden Shift on Stage
The brothers Brewis – David and Peter – are now spending their gigs not performing cult classics like "(I Keep Thinking About) A New Thing" but rather delivering faithful renditions of "Light My Fire" and "Riders on the Storm". This isn't a one-off encore novelty; it's their main setlist, a fundamental reinvention of their live act that questions the very nature of being a working musician in today's industry.
The Harsh Economics of Original Music
This bizarre career pivot is less an act of artistic surrender and more a stark commentary on the unsustainable financial reality for even the most critically adored bands. The article reveals a crushing truth: a support slot playing their own music would earn them a mere £250. In contrast, a single performance as a Doors tribute act can net them upwards of £1,000.
The maths is brutally simple: playing their own innovative music doesn't pay the bills, while playing the classics of a 1960s rock band does.
More Than Just a Paycheck
While the financial incentive is undeniable, the Brewis brothers approach the project with their trademark intellectual curiosity. They aren't just going through the motions. They've immersed themselves in the mythology and musicianship of The Doors, treating the project with a scholarly respect.
They analyse the jazz-influenced rhythms of John Densmore, the melodic bass lines of Ray Manzarek, and the spontaneous, poetic chaos of Jim Morrison, deconstructing the music with the same precision they apply to their own work.
A Bittersweet Reflection on the Music Industry
Their story is a microcosm of a wider crisis within the mid-tier music sector. It highlights the immense pressure artists face, where streaming revenue is negligible, touring costs are soaring, and the financial stability offered by nostalgia often outweighs the rewards of innovation.
Field Music's situation forces us to ask a difficult question: Has the value of original art been so diminished that the most viable career move for a brilliant band is to pretend to be another, more famous one?
For now, the Brewis brothers continue to channel the spirits of Morrison, Manzarek, Krieger, and Densmore. They remain among the best in British indie—they're just playing someone else's songs to prove it.
