Christopher Nosnibor
Anyone who suggests that the fact most gig lineups are male-dominated because there is a lack of female representation, or of quality female fronted acts on the rock scene is simply wrong. Tonight’s killer lineup is undeniable proof to the contrary.
Innovation Way really aren’t innovative in any way, playing a set that’s 50% originals and 50% emo covers, but it’s clear that they’re just starting out, finding their feet and their identity, so I’m not going to give them hard time over it. The originals don’t feel quite as evolved in terms of songwriting, but the only way to develop is to be given opportunities to try out, and they play well, really well, and one day they’ll be playing 90% originals and stretching further – and what’s more they’ve brought a lot of their uni mates down, so the place is busy. That means tickets sold and money over the bar. These are good things right now. It does seem strange to me that people in their twenties are now picking up on music that was big around the time they were born, but I suppose this is a generational thing. I’m just more surprised by the idea of an emo revival than a grunge revival.
Innovation Way
On the subject of developing, I had fully expected to report that Static Lives look very much like Weekend Recovery, and their sound isn’t a million miles away either. But this is not the case: having started out with the same lineup but new material, they’ve reconfigured as a five-piece, with two guitars, synths, and the vocals shared three ways. Having have just completed their first headline tour, which sold out, their place third on the bill was more likely due to travel needs than anything else. No two ways about it, they’re good: they bring the energy and look to be really enjoying themselves. The sound is full, there’s details and dynamics happening all over. The diminutive bassist whacks out some chunky low-end while also contributing a considerable amount of the vocals. This new division of labour means Lori can focus more on guitar and also being part of a team rather than the primary focus, and she seems to revel in this freedom.
Static Lives
Returning to the grunge revival, Blair Bitch Project bring Sabbathesque riffery and hints of folk horror married to gnarly grunge stylings. Despite the bassist being a late substitution, they’re tight and solid, and play with a confidence that carries not only the band, but the crowd. The drummer and vocalist switch for the third song and it’s a real heavyweight, with explosive riffery and thunderous percussion and a low-registering, gritty bass. Mid-set, with the drummer still on vocals, they deliver a cover of ‘Plump’ by Hole delivered with the raw intensity of the original. They get slower and heavier as the set progresses, and towards the end drop a second Hole cover, this time a ragged rending of ‘Teenage Whore’. There’s no question as to their influences, and they play with so much force that it’s hard to fault.
Blair Bitch Project
“Anyone else got a sweaty crack?” asks the singing drummer of WENCH! before introducing a song about men who shouldn’t have access to the internet, bursting with angular guitar and shouty vocals before ripping into a roaring scream and gut churning riff. Yep, they’re from Hull, they’ve no filter and they’re fucking phenomenal – and they don’t even know it, which makes us love them all the more.
Wench!
They, too, bring some Sabbath-inspired riffery, but there’s a whole lot more to them than that, not least of all high-octane punk, with the energy and aggression amped up to eleven. A measure of their structure is the fact the guitarist has two pedals, while the bassist has eight: the rhythm section dominates, and there’s wah-wah and shedloads of distortion on that dominant bass that shapes the songs in a unique way. Their set is a relentless rush, and the channel their feminist fury into the most glorious guitar-driven exorcism. Aesthetically, they are the absolute definition of punk, and the adrenaline rush they deliver is direct and pure.
Yes, yes, and YES! THIS is what it’s all about.
Aural Aggravation 