Tag Archives: Warpaint

Warpaint, The Garden at O2 ABC Glasgow, 24/3/15 

You think you’ve seen it all; you go to gigs on a regular basis, have done so since what seems the beginning of time and it has all became something of a ritual, however, most unfortunately it feels from time to time all too ritualistic as you witness a similar chain of events whether you’re in The Hydro or in the comfort of Admiral’s small basement.

Then, just every so often you are reminded it isn’t always this way and you can still be genuinely surprised from time to time; now is such a time.

Calling The Garden a bass and drum duo would only begin to describe California’s wacko twins, Fletcher and Wyatt Shears enjoy a generous sludge of stage time for a support slot.

Cymbal heavy snarly rhythms are accompanied by broody, Jack White stylee virtuoso riffing with ‘songs’ ranging from 25-seconds to touching three-minutes.

At times some, in a remarkably respectful Glasgow audience, look at each other as if they have just entered the wrong room or joined the circus.

Irrespective of the actual content of the set, the night is memorable for reaction to each sudden jut of direction in the performance; from overblown mime movements to buzz punk inflections through to something approaching a bizarre hip hop show, what the hell?

The brothers seem to be genuinely enjoying themselves as they bamboozle a crowd awaiting an all girl group, which couldn’t be further removed from The Garden and all their eccentricities and songs about apples.

At one stage Fletcher Shears disembarks from his drum kit, disregarding all drummer textbook rules and engages in a rap off with his sibling.

Did I like those crazy twins and the seven different brands of whatever, I still don’t know, but do I want more? Definitely.

Warpaint’s set opens to a relatively low-key ponderous start as the band attempt to convey the slightly gloomy ambience of their style, in a Bunnymen-ish manner.

It seems the liveliest people, at the start of the set, are those jostling to get another lukewarm Danish pint at the bar.

Crowd interaction is kept to a bare minimum as the free-flowing lingering instrumentals replace any kind of crowd chat, keeping the almost eerie tone of the gig alive.

The audience excitement picks up as the set gets in full swing: older favourites like ‘Composure’ and ‘Undertow’ are performed in a dazzling fashion.

Although the sound throughout the set is aesthetically pleasing, the drive of the band definitely comes from drummer Stella Mozgawa – a predominant force who drives the intensity forward.

Despite the obvious jam like quality of the rest of the band, with even the slower more indulgent numbers played by the girls rough, or at least rougher than they do on record, they’re not messy or chaotic, this is one of the tightest sets you’re likely to witness, with each member exhibiting a keen focus to the material – you might say they are in the zone.

Melodic yet aggressive, ‘Love Is To Die’ – a song I don’t care for much as it veers too far in the pop direction – is played subtly yet critically different than on the album, with sharper edge and a faster tempo, so much so that it is a highlight.

Another peak is the live debut of the beautifully chilled out ‘Teese’, one of the stand out tracks of last years self titled LP.

A couple of years ago Warpaint could have been written off as just another all girl band far too polished for there own good, but following up The Fool with an album of consistent quality and putting on a live show of this ilk should help set them apart.

More Photos

Words: Andy Quigley
Photos: Beth Chalmers

Primavera Sound, Barcelona, 29/5/14

With being a somewhat Primavera veteran, at least compared to my contributors attending the festival this year, I decided to let them take the writing and actually cut loose and enjoy myself, well why change what happens every year – the wear and tear of a 7am finish and the seemingly constant drilling around Barcelona fair takes it out of you.

Anyway this year Nick Ramsey took over reviewing duties to give you a newbie’s view on the festival, however we did manage to see a whole plethora of different acts, due to the constant array of clashes the festival throws up (more a nod to the festival’s constant impeccable line up rather than poor organisation), so I decided to input some of my own takes on the festival, those will be the one’s in bold – so here goes:

For years I had heard people singing the praises of Primavera Sound; a show-stopping line-up, an idyllic location and as much sangria as one can physically consume – I decided to make the trip out and I was not even remotely disappointed.

Probably the most efficiently ran, cleanest and vibrant festival I have ever attended, but more on the general experience of the festival later.

First band I caught of the weekend were The Ex, who I had also seen the night before at the BARTS venue as part of the pre-festival build-up.

A band that pre-dates some of their better-known contemporaries, the Dutch anarchist-punks perform with a raw and intense energy delivering tracks from their copious back catalogue.

I had wandered down a touch earlier than Nick on the Thursday to catch the sun soaked indie rock of Real Estate and while it kind of formed the backdrop of a bit of a Glasgow reunion, along with getting the Cry Parrot guide to Primavera (“it’ll be a LOL” cheers Fielding), it provides a delightful start in the early evening sunshine before the festival hits full flow.

I’ve enjoyed Warpaint on record, although would argue that their releases don’t have huge repeat play value, however as they perform on the ginormous Heineken stage, their material actually comes across incredibly well in such a large and open setting.

Playing mostly material from last year’s self-titled album, their set is polished, although they do close with a pretty poor David Bowie cover.

I caught Neutral Milk Hotel at the Barrowlands a few weeks ago and was pleased to be able to catch them again on what will most likely to be a short-lived reunion tour.

Opening with ‘The King Of Carrot Flowers’, the crowd is electric and hanging on Magnum’s every word, seeing NMH perform to such a joyous, festival type crowd is somewhat surreal but still enjoyable nonetheless.

Despite my best efforts and the insistent recommendation of friends, I’ve just not been able to get into St Vincent.

In an attempt to change my own mind, I decided to watch her set and have to say I was impressed, Annie Clark delivers a slick set, proving herself to be both a talented musician and an excellent performer.

It might not be for me, but judging by the size and reaction of the crowd, it seems St Vincent is on the way to bigger and better things.

After a performance on the Letterman show sent them viral, Future Islands have a pretty huge turnout at the Pitchfork stage.

Playing tracks from new album Singles, the crowd is responsive to Sam Herring’s bizarre vocal style and dad-dancing, personally I find it boring and all of the songs follow the same, repetitive format; more style than substance.

Glasgow’s CHVRCHES follow on the Pitchfork stage and also receive a large turnout, playing popular singles ‘The Mother We Share’ and ‘We Sink’, CHVRCHES are another band on the ascension.

I can’t really see anything difference or any value in their music, although perhaps the positive is that they may pave the way for talented Glaswegian and Scottish bands to receive more coverage.

In a small spell where mine and Nick’s viewing collides I find too many clashes and the heavy trek over to the Sony Stage too much to catch St. Vincent, so I find myself ridiculously overwhelmed my peer pressure and underwhelmed by Jeff Mangum’s whining and wander away to Future Islands in haze of loud mocking.

At the Pitchfork Stage Future Islands don’t quite have the same command as they do when I covered them at the Captain’s Rest some three years ago, but the days of small venues are behind them, I guess I’ll just cling to those memories.

Seeing Arcade Fire live is always a spectacle and a two hour headline slot at a festival in Spain at half midnight seems pretty much the perfect time and location for them.

Playing a blend of both Reflektor and older material, their set is a beautiful, emotional event for all in attendance; truly awesome.

I decide to miss Arcade Fire and Queens of the Stone Age in favour of the one act that you simply have to see at Primavera, the ATP Stage apparent residents Shellac, and Steve Albini and co don’t let down and as a mass of angry white men shout along to ‘Prayer To God’ you get lost the band’s emphatic presence; they play every year and every year they are not to be missed.

Touche Amore might appear somewhat out of the place on the bill to some but it’s a true reflection on how far the band have come.

Tearing through a raucous set, they barely pause for breath between songs, playing a broad mixture of old and new material, tracks such as ‘Honest Sleep’, ‘Just Exist’ and ‘Praise/Love’ are particular highlights.

Frontman Jeremy Bolm and the rest of the band look genuinely humbled by the reaction of the crowd, they may have carved their trade in basements and living rooms across America but Touche Amore look right at home on the festival stage and you get the impression this is just the beginning.

Seeing Disclosure at 2.30am on a warm night in Barcelona is an almost perfect combination, they might have been swamped by hype in the past eighteen months but in all honesty they deserve it.

Playing mostly material from Settle, they send what feels like a million people dancing into the streets of Barcelona, the most exciting thing is that they are still really only in their infancy and I can’t wait to hear what they do next.

After staying on for a wee bit after Disclosure’s ultra fun dance era lessons I head over to the festival’s most impressively set up stage, the Ray-Ban Stage, for a night of dancing with Jamie XX; it’s all hazy memories from there but after being shushed by ultra obedient Metronomy fans at 4am we continue dancing til the tubes are back on, or at least until Jamie finally drops that beat, I reckon it’s still up there – really Jamie drop the beat I’ve been to the toilet and back!