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Bido Lito! June 2015 Reviews
Matthew E. White (Aaron McManus / ampix.co.uk)
sounds from a big band. Gospel backing vocals
sit comfortably on top of soulful electronic
pianos and alongside string and brass sections.
All take their rightful place to complete the
majestic sound of this fine follow-up to 2012’s
Big Inner. The answer was simple. He just left
all that back home in Virginia, and stripped the
whole band down to himself on guitar and
vocals, a lead guitar, bass and drums.
Any worries about how this would affect the
new songs were allayed pretty much from the
off. Dressed in matching suit jackets and suits,
looking for all the world like a late-60s dapper
US college band at a frat party, they greet the
crowd with a hearty rock yelp or two, and are
immediately enjoying the freedom that’s been
gifted to them by White’s insistence on this
line-up. Though White’s often softly spoken soul
vocals get lost in the mix for much of the first
part of the show, the sound of this tight band
of brothers is at times stunning, and suits songs
like Rock And Roll Is Cold perfectly. Occasionally,
some of this distorted blues-ridden set feels
like they’re just jamming the songs out, and
allowing them to find their own way; whatever,
it works.
There are several standout songs here this
evening, not least Feeling Good Is Good Enough,
the summery and laconic Fruit Trees, and the
final song from the album, the magnificent Love
Is Deep which, as with Big Love, builds into a
blissed-out and funked-up guitar overload of
massive proportions, ending with an encore of
Holy Moly angst. Holy moly indeed, Matthew. So,
while nobody expected such a set, delivered in
such a way, with such a sound, we’re sure glad we
got it. After the gig, I had a quick word to thank
bidolito.co.uk
White for tonight’s show. His response: “That shit
was a blast, man.” He sure got that right.
Paul Fitzgerald / @NothingvilleM
VILLAGERS
Sobi
The Epstein Theatre
With the impending closure of The Kazimier,
the hunt for exciting venues to help fill the void
is on. Whilst the Epstein Theatre may not fit the
bill in terms of the raucous, party atmosphere
that the Kaz is known for, when it comes to
intimate and contemplative acts like VILLAGERS
it is hard to think of a better venue in the city.
Riding high off the back of their critically lauded
third LP Darling Arithmetic the Irish folkies arrive
to an almost full house, and to get the crowd in
the mood singer-songwriter SOBI takes to the
stage.
Armed with an electric guitar and an elegant
voice she takes us on a mellowing journey
through her debut EP Betty La Guapa, a
collection of songs that, although they sound
a little too familiar at times, are a nice way to
settle the ears before the headline act. Her vocal
delivery is certainly her most powerful asset,
appearing fragile yet full and carrying her simple
melodies perfectly. Standing alone on the fairly
large stage she seems very much at ease, and
her witty interjections between songs help
balance the atmosphere against what is often
serious lyrical subject matter.
With the audience now suitably transfixed,
Conor O'Brien and company emerge from the
wings and ease their way into a beautiful and
captivating set. The acoustics of the Epstein
complement their set-up thoroughly; that being
drums, double bass, organ, guitar and harp. The
latter is a new addition for live performances,
adding an extra layer that cuts through and
emphasises melodies that lie just below the
surface.
Consisting mainly of tracks from the new
record, the set veers between rousing, energetic
numbers and delicate, acoustic ballads. One
of the highlights proves to be single Courage,
a catchy and well-constructed song that relies
heavily on rhythmic changes without drawing
too much focus from the other instrumentation.
Though it is clear that O’Brien's songwriting
has gone up a level since the first two records,
the most poignant [