The Goo 1
Reviews Lifts w/ Flip Top Head & Ideal Living - W
helan’s (Upstairs) Brighton Rocks!! Two of their newest emerging bands Flip Top Head and Ideal Living were making their debuts outside the UK. Ideal Living (Post Spook Knitwear Rock), a seven-piece band (trumpeter and saxophonist) hinted at some of the jazz infusion that was to come. They look like an ensemble but vocalist/ bassist Billy Marsh leads the band. Stylistically he lurches from blunt narrative, to impassioned rant and when shorn of his bass gyrates about like Ian Curtis. Improvisation is clear as single ‘Sanity’ is stretched and manipulated. Their song structure is unconventional, constantly progressing and rarely returns to whence it came. Newly named ‘OFD’ and ‘Down’, where Marsh grants us time to “get (our) dancing shoes” were highlights of an excellent set. Flip Top Head (Orchestral Cult Rock) are also a seven-piece (a trombonist in this case) with a fabulous singer in Bowie Bartlett who serenely occupies the left of stage. Thomas Benjafield on drums pushes their jazz edge slightly more to the forefront. Two accomplished singles ‘Albert Street’ and especially ‘Seventh Bell Number’ are stellar on the night. A plethora of newly revealed unreleased tracks mean more outstanding things are in the pipeline. Lifts sound like a more orchestral, jazz leaning (In Rainbows – From the Basement) Radiohead. EG. Violist Clara Webster is excited as they are moving away from a set that has served them well for a year to a night of new music. Indeed only ‘Wrapped Up’ had been released before. There’s a wonderful control to their new material. Clara’s pedal arrangement provides loops and layers of devastating weight. Multi-instrumentalist and singer Sam Bradshaw is also in fine form jumping between guitar and keyboards with poise. The crowd and onlooking 14-deep (complimentary) support-band-tandem are mightily impressed by this wildly talented act on a night for the ages. EG. Stupid Son - Workman’s Main Room Thus ends the first Chapter of Stupid Son. Following an appearance at this year’s Ones To Watch and a subsequent appearance on BBC Radio6 Live Session, Stupid Son have been on a tear in the run up to the release of their long awaited debut EP Comedy on February 29th. However, their headline show in Workman’s mainstage was a bittersweet affair with the announcement of bassist and graphic guru Rob Broaders’ imminent departure. While the future of absence of Rob, whose bass is an integral part of the eerie, psychological horror movie sound of the band is sure to cause a headache for the remaining three Sons, January 13th’s performance was yet another display from a band on the cusp of a real breakthrough. Incorporating an increasing number of unheard tracks from their upcoming release and beyond, Stupid Son’s hypochondriasis brand of nouveau alt rock has grown into a definite sound. Coming off the back of a self imposed hiatus in the wake of Covid 19, Stupid Son have rebuilt themselves into one of Dublin’s most confident live acts and the increasingly growing audiences they’re playing to is tangible recognition of their hard graft. The bare bones of Stupid Son is similar to many PAGE 20 other bands in their sphere, two guitars, drums and bass providing a reassuring architecture for those dipping their toe, but the angular, slicing tones of the guitar and the domineering low end of their drums points to something much more pointed, something more articulate than many of their peers (tell me of another guitarist you’ve seen switch their capo position midriff while delivering lyrics in Michael Stipean metre). Stupid Son have been here a while and despite a forthcoming departure they are set to be here a while. EG. The Next Big Thing - Workman’s Club and Cellar Ex Oh Promotions are the local promoters known for giving new and emerging acts a break with their showcases every month. Every year, they put on the brilliant The Next Big Thing festival, where for what amounts to a work week (Tuesday to Saturday), they put on six artists each night across the Main Room and Cellar at Workman’s. This year showed that Ireland is still full of young, unique, and genre-defying artists with much to say. Wordcount not permitting a deep dive, here are some stray observations: V-Sensei gave a masterclass in crowd control; Martina and the Moons write an amazing range of pop music; Kendino’s cover of “Wonderwall” was otherworldly; Saibhiin was so earnest and passionate; Speakers make top-tier pop-punk; Denim Teeth and Cell Games are both uniquely insane; Ethan Hollan’s acoustic set was indescribably good; Bees & Sawdust hit hard; and Andromeda I are a hell of a lot of fun. If there is one critique to be had it’s that, as this is essentially a showcase of talent, I wish the stage times could be arranged to avoid clashes. With the understanding that there’s a tight curfew, even starting each night a half-hour earlier than its 20:00 entry could mitigate this issue but overall, a great event. See you next year. AK.