In a smart move, Shebeen Bandroom have made buying and drinking alcohol on their premises an action of good will and hope, with 100% of the profits going towards the developing world. Now that’s a piece of information that does a lot to take the bitter sting of self-hatred out of the following morning’s hangover as, effectively, the more you drink the more people you help. Right?
Oscar Lush starts the night off as part of a three-piece who begin with a subdued sound and an even more subdued audience. His voice is undeniably mesmerising and pitch perfect throughout the performance with his songs being both lyrically engaging and mature. Lush sounds rather a lot like Bob Dylan and looks rather a lot like Christian Bale, which is definitely something the crowd got on board with – cold showers all round. The use of the harmonica blended perfectly with Lush’s alternative folk rock sound that when coupled with his powerful voice led to the band being faced with a very misty eyed wall of people.
Second up is Hollow Everdaze, the neo psychedelic five-piece band that take to the stage with sounds and influences not dissimilar to that of Tame Impala. The well-arranged Ride Away was the stand-out piece, going down a flippin’ treat with the increasingly gyrating audience. The guitar tone and vocals were both expansive and transporting, tripping out the crowd with clever inclusion of the violin and layering of guitar sounds. The cheeky chaps signed off and wished us all a “fucking awesome night.” Thank you kindly, consider it done.
Finally, the impeccably dressed Timothy Carroll and Oscar Dawson came together to bring us Holy Holy and The Pacific EP in a ‘70s pastoral rock wet dream. By the time they pick their way out on stage, the bandroom is heaving and the atmosphere expectant. In contrast with their questioningly uninspiring t-shirt designs, Holy Holy were electric and Carroll sported an astonishingly impressive beard throughout. What is immediately apparent from the outset is just how tight they are as a group and how in tune Carroll and Dawson are as composers. The rich harmonies and distorted guitar tone of You Cannot Call for Love Like a Dog is filling the room and warming the crowd with Dawson producing a guitar solo in Southern Man that had toes tapping and cider slopping over all and sundry. Ryan Strathie’s drumming is completely beyond reproach, with seamless percussive rhythms that perfectly compliment Graham Ritchie on bass.
Carroll openly speaks about drawing inspiration from one of his heroes with A Heroine that is clearly heavily influenced by Neil Young. History was a show-stopping moment with heavy guitars and a hugely varying tempo that highlighted the progression the band is making with their new material. It was followed by Impossible Like You with a roar from the audience signalling that this was the absolute crowd pleaser of the evening, even if it was played almost grudgingly. The crowd is fully warmed up now with a few adventurous mavericks risking a gentle head bop at the front of the stage. Each song is beautifully intricate and transferred well to the live stage thanks to the chemistry and raw talent of the band. Afterwards Carroll apologises for his “poor” voice having recently suffered from a cold – just not necessary.
All in all, one for the wank bank.
BY ROSEMARY ANSTEAD
Loved: All. Of. It.
Hated: People refusing to gyrate.
Drank: Everything, because I’m pro-helping the third world.
