Joe is 20, I am nearing the milestone and we are so very aware of how young the crowd is tonight. Somehow imbued with a scorning of youth (without our knowledge of its inception), we question the age of the statutory and the similar looking scene that we are a part of. This, in hindsight, was probably incorrect. We really should have been excited about the pull of the music we adore so transcending age and 'grabbing' minds so young.
First band that play are All Forgotten [6]. I remember listening to them in 2007 and liking what I had heard, Joe also had previous exposure to them - even with a tale of almost starting a band with one of the present members - but both included their previous vocalist and musical direction. Their niche now lies in soaring vocals over a big rock sound tinged with heavier moments reminiscent of the headlining act. They play for half an hour to a well receiving crowd. Their set whizzes by and their British accents are a welcome sound to my ears. Unfortunately the singer sounded off key - and by his own admission privately to a fan when posing for a picture - but I was left impressed with their set to invest in their cd.
Yashin [3] play next. They have a stage set up adorning their banner. They have more money behind them than All Forgotten it would seem. The crowd are restless and want 21:30 to come sooner to see Jonny Craig and co. The lights dance as Yashin come on during an instrumental intro. My interest is piqued, Joe's as well, and when a red hooded frontman leaps on stage and begins screaming my intrigue begins to wane. Seen and heard of all this before, and done better. Their sextet line up is completed by the queerest looking frontman I'd ever seen. Almost bursting out of his branded t-shirt, he sings (badly) backed up by the clearly more talented backing vocalist on the guitar. Nothing about Yashin is unique. Their scream/sing assault headed the post hardcore sound in a way that you hear from every band on the scene from America. Yashin are Scottish... I beg for their set to end and it does after another half hour not before my person highlight when they announce a song called 'The First Rule Of Fight Club'. They incite more movement in the crowd than their predecessors, with the vocalist taking turns to jump on the crowd and surf their hands. Yashin were certainly all forgotten when the lights dimmed on their nights.
Finally the band everyone's here to see are imminent. The Fox that is on the self titled record's artwork is out in full force on merchandise being bought by adoring fans. This is the first time Joe and I have seen them. We talk about their progression from 2006's heavier and more religious-centric 'This Is Your Way Out' fronted by Chris Roetter to 2010's 'Emarosa' Jonny Craig's second record with the band. Joe swings for the Jonny Craig material where my allegiance is with Roetter. I wonder how many of the crowd are aware that there was a band before Jonny Craig joined; it's not a question I put to anyone, mind you. Emarosa [9] enter to screams and the first thing I notice is Craig's 'Free Weezy' tank top, I point it out and laugh as they launch into their extended intro of 'The Past Should Stay Dead.' As a singer as well, I'm in awe of Jonny Craig's live performance and stage charisma. The crowd go where he goes and react every time he tugs on his tank top or asks them to sing him the words. I'm reminded of the Kurt vs Jonny debate surrounding Dance Gavin Dance as this ginger mulleted man sings his heart out at a level most singers can't even be auto tuned to reach. The set's material contains 2008's 'Relativity' and the new release, and my love affair with '...Your Way Out' unfortunately cannot be satisfied. Hearing the songs live, I gain the missing something from the recorded versions; how much Jonny has become a focal point of the band. The keys, the guitars, the drums and bass all work in tandem to soar right through the Garage, no sonic qualities lost in the acoustics as standout track of the night 'A Toast To The Future Kids!' kicks everyone's butt. The band thank us again and again for being a part of the night as 'We Are Life' moves into a well deserved encore before they play out the night to my favourite song off of 'Relativity' 'Set It Off Like Napalm.' Emarosa sounded and were perfect.
We file out horrifically early due to the curfew in Central London and I can't help but notice my dry self. The sweat and energy of the pit I could only watch and dream I was a part of. I realise that although it was a good show, it would've been a great show if I was in that pit, communing with likeminded sweaty people in the joy of the music playing... It's not a complaint as much as it is an observation. Our vantage point let us see everything, - but as spectators rather than participants - without taller people obscuring your view, without elbows in the ribs, or some backcombed hair in your mouth. In my mind, is the poignant disappointment of missing out on standing tickets for My Chemical Romance's show at Wembley Arena, underlined by my reluctance to buy seated tickets (due to a principle against seated shows - first and last one Muse in 2003(?) at Earl's Court). I desperately want to see them live and to see how the new record 'Danger Days' translates in a live show. Oh well... stay interested as I'll settle for reviewing it along with 'Kindgoms' by Broadway, recommended by Milly Darling, the next time I post.
Thank you for tuning in.
No comments:
Post a Comment