Two
in two in Bristol, and back to the “Dirty Boat” for a band who’ve made an
unexpected return to my listening habits, and who are subsequently becoming
quite the “Dance Card” fixture. It was thanks to the excellent Coach Party that
I’d “rediscovered” We Are Scientists in 2021, not only thoroughly enjoying
their buoyant and flippant powerpop album “Huffy” and subsequent Dec ‘21
Trinity gig headlining over IOW’s finest (gig 1,203) but then also catching
them at Victorious Festival last Summer (gig 1,240), where they’d scooped my
Band Of The Day honours. I’d since done my due diligence and hoovered up all
their missing albums, making up for the lost time between initially coming
across them on their taut and cerebral post-punk 2005 debut “With Love And
Squalor” but then allowing them to slide out of my view. So, I was of course up
for any new material and “live” shenanigans, snapping up new album “Lobes” and
tix for this one toot sweet. “Lobes” (their 8th album!) keeps up the
clever songcraft and acerbic lyricism of “Huffy”, aligning it this time to a
distinctly 80’s hooky synthpop feel somewhat akin to Heaven 17 for me. That’s
great, I’ll take that!
This
was another exemplary showing from We Are Scientists, their set once again
picking from the entire range of their canon, from the itchy, insistent
herky-jerky new wave-isms of an early “Nobody Move” and the relentless backbeat
of “Buckle”, through the punkish powerpop blast of “You’ve Lost Your Shit” to
the 80’s pop sheen of newer numbers such as “Operator Error” and Settled
Accounts” (Keith actually introducing the first of these “Lobes” numbers with a
tongue-in-cheek comment of, “we have a new backdrop so have to make a new album
to account for it!”), all overlaid with the We Are Scientists knack for
infectiously hooky tunes and intelligent, sardonic lyricism. And once again the
between-song banter was as entertaining a feature as the music, Keith and
bassist Chris Cain bouncing and riffing off each other with the quickfire wit
of a top-class stand-up double-act. Debates about stage apparel (the plaid-clad
Chris firing off to the smart white-shirted Keith, “I’ve come dressed for
camping, you’re dressed for a wedding!”) driving Ferraris into ravines and
burying groundhogs in the process (!), and a “Field Of Songs” debate leading to
multiple Kevin Costner impressions (!!) were as memorable as the musical
highlights, such as the aforementioned “Contact High”, the clapping pregnant
pause during a potent, driving “I Cut My Own Hair” and the rather epic set
closer “After Hours”. The set absolutely whipped by.
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