I
didn’t really expect to leave this Wyldest gig with a Gaz Brookfield song
blaring in my head, but you’ll probably see why…
I usually seem to save my
excursions “Up The Tupp” for some acoustic folky punky or Americana-tinged
stuff and nonsense (or, in the regular case of Si Hall, both), but tonight promised
something different; a set of wistful and ethereal dreampop from Wyldest,
pseudonym for talented Swindon native Zoe Mead, whom I’ve seen in a couple of
times in Shuffle scenarios or 12 Bands of Xmas showcases, but never as a gig
headliner in her/their own right. Time to put that right, then!
So,
after helping the youngest with maths homework, I trundled up the hill, parking
in my recently discovered free spot (hooray!) and hitting the Tupp just after 8
for a chat with those splendid fellows and local gig impresarios Ed Dyer and
Dave Franklin. In fact, I got so absorbed in a conversation with Dave about
80s/90s bands that had passed us by, that I didn’t notice how busy the pub had
gotten in advance of proceedings. So much so, in fact, that when Ed introduced
support Stay Lunar (or at least, 2 fifths of them, namely vocalist Harry and
guitarist George), we were relegated to a spot right at the back (far from my
usual preferred front row spot in this tight little pub venue), unfortunately
right in the midst of general bar chat and hubbub. I gave it a couple of
numbers then wormed my way back to a spot right by the side of the window stage
by the front door, which was initially better, then worse, so I hit the back
again, trying my best to squeeze forward to hear. A shame, as the boys were on
good form; an early newie “I Like It When You’re Around” had a pastoral, hazy
C86/ Sundays vibe, “Keeping Me Up All Night” was a bouncier and optimistic
strumalong recalling the likes of The Hit Parade, and both Ed and I liked
another newie, “Oscillation” featuring lots of -ation rhyming which reminded me
of Orange Juice’s similar “What Presence?” Closer “Dancing” was a pretty and
resonant number with nice embellishments from George, far from the acoustic disaster
a voluble Harry had hinted at earlier. Overall a fine, understated start, from
what I was able to hear…
Luckily
(or so I thought) and thanks to Linda, I managed to secure a 2nd row
seat in advance of Wyldest’s set, chatting to Jo, a fellow punter and Oxford
gig promoter, and anticipating actually hearing Wyldest’s set. Wrong! The place
(for the Tuppenny at least) was rammed, and after Ed introduced the 4 piece
Wyldest onstage, a group of young folks (clearly irregular gig-goers at best) standing
to my immediate left decided to have a booming conversation about their social
media accounts. Again, I gave it a couple of numbers, then “respectfully”
informed them that the partitioned bar was the place for such conversations,
not right at the front of the gig; being challenged with, “what? Can you hear
me then mate?” by one of these ignoramuses (ignorami?), my reply was, “mate,
you’re ALL I can hear!” This seemed to quiet them down awhile, but taking a
hint was obviously not one of their collective strong points, but by now (and with
the help of a louder than expected band) I’d at least managed to zone them out
a little more. I found out later that said bunch were “friends” of Zoe; all I can
say is, with friends like that at your gig, who the fuck needs enemies!
A
shame again, as Wyldest were also in fine fettle, and much more robust and
dynamic than their lovely yet understated and gossamer CD “Dream Chaos” would
suggest. Following a false start due to an unplugged pedal, opener “Hollow” was
bright, buoyant and Belly-esque, with Zoe’s Tanya Donelly-esque vocal
inflections and impressive guitarist Marine’s resonant fretwork a feature,
setting the tone for the set. “Beggar” was even (dare I say it) rockier, and “Seastroke”
was my set highlight, a slow build with Zoe’s yearning vocal fills leading the
song into an absorbing crescendo. “Good to be able to embrace the West Country accent
again!” remarked London-domiciled Zoe, introducing a newie “Winter Limbs” which
seemed to collapse into itself at the end; then “Monthly Friend” (“[from my] concept
album about periods!”) was a more delicate, fragile number, more similar to
their dreamy CD. “The Best Is Yet To Come” kicked in as a stately 70’s ballad
before some distinctly echoey electronic beats led into a naggingly familiar
hook, before Ed tried to get Zoe’s parents to choose an encore, the band repeating
an earlier number to conclude a fine set.
A
nice chat with Zoe afterwards about her band, the Bunnymen (my t-shirt, her previous
cover of “Killing Moon”) and Belly, plus a signed list, then farewells to
friends old and new before I took a stroll back to the motor, still slightly
steaming and with the words of Gaz Brookfield’s “I’ve Paid My Money” ringing in
my ears. “Have some respect for those around you, and try not to be a dick”,
indeed. Nonetheless, it won’t put me off going to see this absorbing band
Wyldest again, but next time I would hope to hear them too…!
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