Live review: Summer Nights 2012 featuring Dead Electric, Olympic Swimmers, The Unwinding Hours at Tut’s, 23/7/12

You can practically smell the talent from half way up St. Vincent Street and the stench only intensifies as you try to make your way through the heaving, sweaty crowd of King Tut’s.

 

With such an impressive line up for tonight’s edition of the Summer Nights programme, the jam-packed crowd comes as no surprise.

The experimental bunch that are Dead Electric provide some pretty epic, guitar-driven tracks that would be the perfect soundtrack to accompany a road trip along Route 101 (preferably in a soft top Mustang).

Dead by name and dark by nature, their lustrous sounds penetrate the room, refusing to rest until each and every person was infected and began to subconsciously nod and shuffle in time to the beat.

With a voice so piercing it feels like she is grabbing onto your soul, Suzie Liddell from Olympic Swimmers manages to silence the crowd into an almost hypnotic state.

Switching effortlessly between a triumphant howl (which is so mammoth at times she could have performed without a mic) and a delicate whisper, the Olympic Swimmers frontwoman manages to create the most intense atmosphere, which is enhanced by the dark and intimate setting.

After opening with ‘Knut’, The Unwinding Hours modestly address the crowd with “we’ve got loads of new songs to play…but don’t applause yet, you don’t know if they’re shite”.

Craig B and Iain Cook needn’t worry though, the new stuff sounds absolutely incredible and they have an impressive and atmospheric lighting show to boot.

In an attempt to free the Aereogramme shackles, The Unwinding Hours have adopted a much more polished sound, which is less spunky and a lot darker.

With this new found maturity, I’m glad to see they haven’t lost their sense of humour, joking; “one more new song, and then we’ll play the greatest hit”.

‘Tightrope’ closes the set, but from the reaction the crowd give to the unfamiliar tracks, The Unwinding Hours should be pretty confident that the new stuff doesn’t sound shite at all.

Words: Erica Lennie

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