Kicking
off a week’s half term leave with the kids by launching into 3 gigs in 4 days,
so I’m glad I’m starting locally; got to pace myself at my age! This one is an
intriguing prospect for starters; Faye Rogers, daughter of old BT colleague
Stella, and a talented vocalist I’d enjoyed on a smattering of solo
performances last year, has assembled a band and performed a “musical
reinvention”, according to esteemed local musical scribe and oracle Dave
Franklin. My curiosity thus piqued, I booked a ticket for this one and ventured
up the hill after Rach returned from swimming, for my first local gig of 2015!
Hit
the venue for some entertaining muso chat with Mr. Franklin and “Songs Of
Praise” partner in crime Ed Dyer, tonight’s promoters, before openers Coco Esq.
A young black-clad lot, they employed some naggingly familiar resonant guitar
licks which preceded some youthfully enthusiastically played dark and brooding
post-punk and pseudo-Goth with some good droney choral hooks, and shimmering
Editors-esque guitar licks. Occasionally veering too excessively towards
over-shoutiness and a little unrehearsed, maybe, but they were clearly having a
ball up there and projecting their enthusiasm to their audience. Plus, they
were totally right in my sonic wheelhouse so I saw a fair amount of promise amidst
the embryonic layered guitar noise. Keep cleaning that sound up, boys, and
you’ll be one to watch…
Better
yet was to follow, in main support Familiars. Despite technical keyboard-based
issues forcing the restart of the opening number (vocalist/ pianist Steve
Skinley – who with more than a dusting of grey up top was clearly of a closer
vintage to myself than the first act! – remarking dryly, “you’ll know this one,”
when it finally got going), they were superb from the outset. Operating in
similar sonic dark post-punk territory to the openers, they had a mellower,
bleaker take on said rockist sound, a considerably higher level of
musicianship, and a level of insouciant, detached NYC cool (despite hailing
from Cirencester!), overall recalling a first album era Interpol, or “Neon
Bible” Arcade Fire in mood, with Steve’s slow, mournful bedsit vocals
resembling The National’s Matt Berninger, or The Wild Swans’ Paul Simpson.
Delicious stuff indeed. The penultimate number “Ballyhoo” for me appropriated
the circular piano riff from Nada Surf’s dark, atmospheric “Killian’s Red” but
I’ll compliment them on their taste rather than throw around accusations of
plagiarism, because this was a bloody fine set, culminating in their soaring,
uplifting best number “Bottleneck”. Complimented a humbled Steve afterwards –
apparently a vaudeville performer in his spare time. A man of many talents,
indeed!
After
that, White Lilac faced a challenge, underlined by Ed Dyer’s introduction to
the by-now packed Vic for their appearance; “hometown crowd, guys – don’t fuck
it up!” No chance of that happening, as White Lilac shone from the outset. An
opening number, “Furs”, rocked startlingly in a shimmering post-Shoegaze vein,
similar to Lush, then “He’s Not Himself”, one of the highlights of Faye’s solo
shows, was given added gravitas by the band embellishment, initially delicate
and haunting, then building to a menacing, discordant crescendo. “September”
was a cello-led challenging clash of styles, recalling Throwing Muses in intent
if not style, and an unexpected cover of “Bigmouth Strikes Again” (“we’re big
Morrissey fans and we’ve got tickets to see him next month”, gushed Faye) was
equally as off-kilter, the song turning into a rampant sinister rollercoaster
ride. All too soon the set neared its’ conclusion, the jewel in the crown of
this nascent set being closer “Night Visions”, underlying Faye’s new sonic
template by starting off all shimmering and slow-burn, evolving into a mournful
sax-led elegiac mid-section, then turning completely on its’ head with a sudden
slap of slashing guitar leading to the song’s powerful crescendo. Great stuff,
and well received by the packed and supportive audience.
A
few words with the Star Of The Show afterwards before heading off. Faye has
clearly had a “lightbulb moment” and found her direction, which to these ears
is not so much a reinvention, but more a refinement, the band dynamics adding
an extra dimension to her material. I’ll be an interesting journey to watch her
obvious talent develop from here on in, and one I’m determined to watch closely!
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