First up are Yes Giantess, a triple-synth and live drums combination appearing out of the smoke and dim blue light to assault the audience with their updated interpretation of eighties electro-pop. Whirling arpeggiations, driving bass lines and punchy drums place them in the dance focussed twenty first century. Whilst smooth, retro string samples, american rock-pop vocals and the typical three minute song structure ensures they never stray far from pop. Comparisons to Daft Punk can only be held at bay until the four piece unleash the synthesised guitar effect from 'Digital Love' albeit they're less loop orientated and laid back than the robotic frenchmen. Yes Giantess make for a promising start to the tour even if they are the most energetic band that will be performing this evening.
Next, bathed in sunbursts of yellow light, are one of the successes of this year's South By South West. Local Natives sport the only two electric guitars of the show, a bass guitar, drums and a miscellaneous guy with a smaller drum set up and the obligatory synthesiser. Four harmonising vocals and the substantial percussion and bass partnership allow the guitars to slide into the background and caress their relaxed rhythms into summer jams. They don't sound much like Vampire Weekend but share the same ethic. One minute they'll be providing the perfect soundtrack to a barbecue and on a sixpence they'll turn it into a raucous feel-good rock out. The last and arguably best track of their set looks to be petering out with their typical percussion patter-off when the lights are cut and the drums dwindle to almost nothing before everything slams back in more powerful than before. A stage invasion from the other members of the tour, all wielding drum sticks, kicks the rhythm through 'elaborate' into 'frantic' and the guitars sieze the opportunity to take the fore with squealing solos. It's a fantastic final minute and they leave the stage to tremendous applause having taken their set to its climax.
Local Natives - Warning Sign
Third to grace the stage are Marina And The Diamonds fully illuminated in white light. There's no shadow or mood created here, there doesn't need to be. The music, featuring bass guitar, drums, backing track and (you've guessed it) a synthesiser is unremarkable. It's the sort of music that you'd hear in a lift and think 'This sounds like a cover version of Keane without the vocals'. But it's not about the music, it's about the front lady Marina. So much so that she actually refers to herself as Marina and the Diamonds ignoring the presence of the other three 'band members'. She waltzes on stage midway into the first song in a thick cardigan with a cute lamb's face on the hood, increasing her initial similarities to Bjork with bizarre flapping of her wool-draped arms. Her voice is astounding and dominates the songs, ranging from gentle high pitched wavers down to low, guttural blasts of power. It's not just her voice that demands attention though, during 'Obsessions' she retreats to the keyboard removing the kooky cardy to reveal a black catsuit clinging alluringly to her perfect hourglass figure. She claims to be embarrassed by her choice of clothing for the evening whilst her lithe form is obscured by the instrument in front of her but her return to centre stage sees a dramatic change in attitude. The quirky jerkings are replaced with a sultry strut, a wiggle of the hips and a heart stopping wink that ensures even the sleepiest of primal urges are now raging in everybody (screams from a gaggle of girls at the front confirm that this isn't just a guy thing). It might seem shallow or even irrelevant to comment on the attractiveness of an act but it's such a commanding notion that supports and enhances the music that it has to be mentioned. Marina And The Diamonds has all the signs of a star - she probably knows that - and she's going to be massive (as in successful, not fat) very soon. In fact, if she wasn't when you started reading this, she probably is now.
Marina And The Diamonds - I Am Not A Robot
The fourth and final act are Golden Silvers, the least likely to be classed as 'new' on the bill having already released their debut album earlier this year. They're also the least energetic of the evening making for a bit of an anti-climax. Their four synths, bass guitar and drums are shot in purple and they slowly plod into the first song. It's the same relaxed summery attitude that Local Natives turned out and after the intensity of Marina it feels like the subdued audience and band have been drugged. The lead singer even looks the part, the collar on his denim jacket is popped and his psychedelic paisley shirt peaks through offensively from underneath. He's not dissimilar to an under-the-influence Shaun Ryder woozily allowing the lyrics to roll out with his head lolling from side to side and eyes closed. Thankfully when he speaks it's clear that all his faculties are present and correct and he announces that the next song will be a new one. It's an interesting performance and familiar tracks are tinkered with to give longer misleading intros of synthesised mischievousness. By the time 'True No9 Blues (True Romance)' is played, the low slung funk has permeated the audience's apathy and the atmosphere picks up. The Golden Silvers finish their set in a much punchier fashion, leaving the sleepiness of the first few songs way behind them and the crowd applaud.
The NME yet again pluck out four bands that deserve to succeed. Whether they manage to or not in the coming twelve months is another matter. Tonight has been a very reassuring night for new music.
Golden Silvers - Arrows Of Eros
Thanks to TresDigital for the photos
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