A
scorching jaunt down to the South Coast on a sun-kissed evening; not for
sunbathing, though, but gigging! This was another chance to see one of my
favourite discoveries of last year in Martha, Pity Me’s ruffian bunch of
crunchy post C86/ emo/ popcore purveyors, albeit this time supporting
California’s emo/ pop-punk lot Joyce Manor. Next week’s Bristol date coincides
with another gig (ironically also in Brizzle), and I just didn’t fancy the
carnage that is Oxford traffic and parking, where there was an alternative!
So,
t’was down to Southampton Joiners again, a venue fast becoming one of my
favourites, not least due to the ample (and free) street parking virtually
outside! So, after parking up an underarm stone’s throw from the front door, I
hit the venue at 10 to 8 with openers Goodboy already midway through their set.
No great loss, this; despite sporting an entertaining elastic-limbed motormouth
frontman, they were a bit hard on the ears with some rather clumsy screamy emo,
which, rather uncomfortably, almost
bordered on that late 90’s nu metal sound. Don’t give up the day job (or
college course, I suppose), boys…
Much
better was to come, however, in Happy Accidents, next band up. Recommended by
Mr. Andy Fenton, and I could immediately see why, as this trio set about a
gauche but charming ramshackly C86-esque jangly indiepop set, recalling the
likes of Razorcuts and even early Soup Dragons, with harmonies in their heads
and sunshine in their tunes. Then, just as I thought I had them sussed out as enjoyable
Talulah Gosh wannabees, the bespectacled, angular vocalist (who reminded me of
Silver Sun’s James Broad) announced “Facts And Figures” as being, “about being
bombarded with all the horrendous events in the news and becoming sanitised to
them,” the subsequent slow-burn, morose intro hinting at more musical and
lyrical depth, before exploding into a more characteristic brisk jangle fest.
Good stuff overall, and if some songs seemed to feature more words than they
could comfortably accommodate, that’s no bad thing either!
A
quick and fun chat with HA drummer Phoebe and her dad (!), manning their merch
stand, whiled away the interval before I took a spot down the front, stage
right, for Martha’s entrance at 9. As before, long-haired guitarist Dan took yelping
vocals for the strident opener “Christine”, before ceding to fellow guitarist Jonathan
for the frantic, repetitive chant of “Chekhov’s Hangnail”. The sound mix was a
little bass-heavy from my position (which was, admittedly, down the front with
my head in the monitors!), but that didn’t stop me from shaking a couple of dodgy
knees to this set of amphetamine-fast, vocalist-swapping, heavy-guitar yet
tuneful and thoroughly fun singalong indiepop, and getting a serious sweat on (almost Full Cleo!). Not as much,
however, as a fellow punter, who afterwards looked as if he’d taken a shower
with his clothes on, and enthusiastically admitted to me, “every time I see
Martha I totally lose my shit!” Good
man!
Not
only do this band play it hard and fast, however, they’ve got some points to
make; on Gender Politics (drummer Nathan introducing “Sleeping Beauty” as
being, “about how forcing somebody to conform to gender roles is fucked up!”),
LGBT equality (the excellent, later “1967, I Miss You I’m Lonely” being
introduced with, “about how love knows no borders,” prompting an, “aaah,” from
this cynical old soul), and conservation (diminutive bassist Naomi commenting
on their donation box for an animal sanctuary with, “[the horses] have got big
bet bills – no, vet bills!”). The
splendid “Bubble In My Bloodstream” featured a Pixies-ish chuntering opening,
before switching up gears to a breathless, gabbling sprint finish, but that was
topped by my set highlight, the subsequent “Goldman’s Detective Agency”, some
brilliant guitar riffery underpinning a helium vocal from Jonathan and an infectiously
catchy hook. C’mon, Gumshoe!
Final
number “Do Nothing” featured an uncharacteristically slow-burn “Debaser” style
bass riff and Dan’s yearning vocal over a stripped back base, building to a
wall of noise crescendo before the typical frantic finish, an entirely appropriate
conclusion to a breathless and splendid set. Great stuff, and a chat with merch
stand-bound Jonathan and my fellow sweaty dancer afterwards rounded things off
nicely, before I briefly checked out “headliners” Joyce Manor. Despite one
nice, Menzingers-like number, they had an oddly dated emo sound which wouldn’t
have been out of place in Reading Festival 2002’s “Concrete Jungle” tent
alongside the likes of Hot Rod Circuit and Saves The Day, so I gave their
popular set 4 numbers then hit the road. I’d already seen my headliners!
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