30 Years Later: Pretenders’ Live Album ‘The Isle of View’ Remains Vital Unplugged Listening Experience

Ever since Chrissie Hynde courageously engaged in that tremendous leap of faith it took to form the band Pretenders in 1978, she has consistently taken great pains not to indulge in complacency or repeat herself in any way (and that goes for her solo activities too, such as the stellar 2021 collection Standing In The Doorway: Chrissie Hynde Sings Bob Dylan).

On the contrary, there is the imaginative endeavor that is The Isle of View (released 10/16/95) With three decades retrospect, it is one of the most durable, not to mention ingenious, entries in the British/American band’s discography; more or less an unplugged concert, The Duke Quartet of violins, viola and cello–sounding positively unbridled on “The Phone Call”–plays alongside a core ensemble of accompanists fronted by the Ohio native Hynde.

Performing before a live, televised performance at London’s Jacob Street Studios, Adam Seymour on lead guitar, harmonium, and backing vocals, Andy Hobson on bass and Martin Chambers on drums and backing vocals follow the lead of their frontwoman, infusing the material with genuine vigor, simultaneously reimagining and rediscovering how hits such as “Brass in Pocket” stand the test of time.

That cull from the eponymous 1980 debut and “Back On The Chain Gang” from Learning To Crawl, appear juxtaposed with less-known numbers such as “Sense of Purpose” (from 1990’s Packed), all of which radiate a mature brand of insouciance. Low-key and dignified as is the setting, Hynde’s no-nonsense persona remains intact.

So, notwithstanding the elegance of the strings,  the bandleader’s attitude isn’t much less forgiving in any of those numbers in comparison to the original recordings. Taking into account the nuance of the vocal delivery, for instance,  “I Hurt You” may sound even more scathing for its relative restraint (notwithstanding the pun on a well-worn phrase in this album’s title). 

Meanwhile, the sparsity of sound emanating from the harmonium of “Hymn To Her” belies the devotional resonance of the song itself as well as its saintly performance. Likewise, while the innate delicacy of the orchestration suits “Chill Factor,” it does not preclude unself-conscious abandon on Chrissie’s part. In fact, early in these nearly sixty minutes, she sounds delighted that this ambitious concept is proving successful in execution. And why not: Seymour’s acoustic guitar leads are piercing and Chambers’ drumwork is insistent without ever becoming intrusive.

And none of the musicianship or instrumentation obscures the command of language Hynde wields in songs of hers like “2000 Miles.” Similarly, the Kinks’ Ray Davies’ own emotive eloquence rings true on “I Go to Sleep,” accented as it is by Damon Albarn’s piano. It’s little wonder that the audience’s acclaim grows with each rousing expression of approval.

An unsung entry in the still-growing body of work by Chrissie Hynde’s Pretenders–continued as recently as 2023 with the superb Relentless–The Isle of View is nevertheless an act of artistic bravado brought to full fruition with the dramatic crescendoes that conclude with “Revolution;” a concession to its time, since the Last of the Independents LP had come out the year prior to this unusual occasion, the number continues to resonate deeply through the years.

Apart from musician credits and some blurry screen grabs, there is no explanatory content in the twelve-page CD booklet of TheIsle Of View. But, ultimately, that’s as it should be: these fourteen cuts say all that needs to be said, about the past history and the long-term legacy of Chrissie Hynde as well as the Pretenders.