We’re probably never going to be in a position like this again. We’re probably never going to be as popular and be able to do a world tour on this scale.’
- Michael Stipe, 1995.




 Watch: R.E.M: Rough Cut

Fifteen years since this comment, with five more studio albums added to their previous nine and concert venues around the world habitually selling out within minutes, R.E.M.’s longevity has stretched beyond even their lead singer’s expectations. But for fans who have followed the band from their humble beginnings in Georgia since the early 80s their durability will come as no surprise.

‘R.E.M. is a band who can appeal to the 14-year-old nephew who won’t listen to anything other than Megadeth and also it’s not something your mother will necessarily change the radio station for.’ So says one of the many journalists vying for the band’s attention throughout the filming of this intimate documentary following R.E.M.’s daily lives as they prepare for their 1995 world tour.

The film is shot predominantly in black and white; something any R.E.M. devotee will be used to seeing, having adopted monochrome album covers for Automatic For The People and Accelerate and shooting many of their music videos, including Turn You Inside Out, Pop Song 89, Finest Worksong and Orange Crush, in the same format. It’s something that perfectly reflects the band’s sensibilities with their evocative lyrics and haunting melodies. REM shy away from the bright lights and glaring attention. As guitarist Peter Buck says: ‘It’s just not appropriate for what we do. We’re more of a performance band rather than a performance ‘art’ band’

For all their critical acclaim and worldwide appeal, this film captures R.E.M. at their most vulnerable. We meet the band jotting down their playlist in an exercise book, they do their sound checks with Mike Mills tuning his base and Bill Berry checking his drums, while Michael Stipe brushes up on his lyrics, conferring with the rest of the band on what the words are to some of his songs. This being before the days of Google, they rely on memory alone and an Automatic For The People guitar tab songbook that happens to be lying around.

We then head with the band to New York where they are preparing for a live performance of Bang and Blame on Saturday Night Live. In the dressing room they sign autographs for the crew; Bill Murray is back stage, helping them pick out outfits for their performance and a fresh-faced, pre-Sex And The City Sarah Jessica Parker is on hand to introduce them on to the stage.

This film provides a fascinating glimpse into the entire creative process of one of the world’s most popular bands. We even see them discussing song-writing and helping out with the designs of the T-shirt which will be sold at their concerts.

Back with rehearsals, they thrash out What’s The Frequency Kenneth?, Tongue and I Don’t Sleep, I Dream. They hit the notes immediately. Look away from the TV and you might be listening to the album versions. Stipe watches from the back of the theatre and imagines what it must be like being a punter in the crowd: ‘You guys sound great. You look great. If I wasn’t in this band I would be a big fan. I would see you live. I would be irritated by me but I think I would like us a lot.’