They got straight into it with “Chase”. This is very catchy and shows that they haven’t lost anything since we first saw them play in 2011. This is solid on the playing side of things. The guitar and drumming add something the to the fluidity in the make-up. On “Build It Up” there is a clever feel about how it all necessitates in the overall operation. That leverages a lot in how it is pieced together. The running has a very exact feel to how it all comes through that is rather distinguished. Their next song “Easy” really jumps out at you. The bounce here is very apparent. With it the band take to the task at hand and how everything breaks out is excellent. The resonance of the rhythm guitar puts the pedal to the metal because it is literally loaded with a dangerous amount of pace. Things rocket along off the back of it.
Where and how “4:20” leads to something well worked bowls you for six. The focus and drive in the rhythm keep everything in check. This is loaded in a balanced way that shows from the very crisp sound that comes through. Snappy drumming brings “Over” through and gives it a slight “Superstitious” by STEVIE WONDER feel to it all. The licks in the guitar add to the bountiful way it steps out. This shows an imaginative side to the band that is quite stylish. The smoothness of it and the graceful way it comes through cuts the mustard in more ways than one. “No” is a reflective offering. It hangs back in a carefree way. The dutiful lingering on show brings some quality to proceedings and brings the rhythm to life. There is a big feel going for this one also. It is full of poise and the purpose in the delivery and stage presence exemplify why they are held in such high regard. Their last song “Cracks” opens steadily and gives everything the right platform to build upon. It then levels out and has a precision about it all. The bridge underlines this from how well it is carried through. But the energetic turn to it all has as much a say in matters.
They also play at The Mercantile next Sunday.
A purity on all fronts pitches up on “Fire” and from there the rest of his set duly follows. It has a certain feel to the way it all gets down that is quite admirable. The stubborn caressing of the guitar gifts it all a very impressive roll that inspires his performance a little bit further from it. He curtails a lot of emotion into “She’s Trouble”. You feel it taking hold as he plays. That becomes more steady in terms of how it is worked and is worthy of appreciation. He then pushes things squarely though on “Ain’t Nothing Stoppin’ Me”. A big plus is found in how grounded it comes to be. The way he tears into it summons a fine degree of conviction. How it is constructed takes stock of things in a very clinical way and comes through all the more for it.
“Do You Feel Alright?” is a very catchy and showy tune. This showcases a sweetness that is tailored in the running which gives it all a very clean design. That proves to be a good calling on all proceedings here. The stage presence and showmanship is duly noted here also. That led neatly into a very productive version of the MICHAEL JACKSON classic “The Way You Make Me Feel”. Well almost all his songs can be considered classics, but he doesn’t put a foot wrong here as he puts his own stamp on things. There is a very high standard to it for a cover version. The steady sway in the rhythm shows on “You Give Me Something”. The delivery coasts along on the back of this but it is exacted in a way that gives it all a very strong showing. How it all holds is quite impressive. His voice leans into it with a gritty take that has a fitting tangibility to it. He then plays in his final offering with that same sense of authority. “Little Miss Sunshine” springs forth from the guitar. The candid spring in the step is hard to miss. The bridge is excellent and the wiry feel from the guitar sets him apart from the typical standard of singer/songwriters always playing acoustically. You also feel that he could easily do that but that it somehow it is just not his thing.
As soon as they started their set they immediately grew on this reviewer. There is a rich texture on “Wash Away” that is seen right by the double bass. From the off the whole delivery is excellent. The derivative in the tempo washes through with clarity. It is a blistering effort that is concentrated in a joyous way. The patient feel of “Party Song” offers up a very good contrast. The sober texture and temperament move across with a concerted feel that is comfortably matched with the overall running. There is a charisma to it that is easily channelled and feels very sturdy in how it is situated. The assured deposition of the band is on show with “Complete”. The volume of this collects in the laid back style which gives it a more opportune feel that becomes more prominent as it progresses. That clarity is laid out and the classy parlance is also a nice addition here.
There is a further touch of class added on “I Don’t Want This” which fills out on everything. The derivative of it is very fashionable and carried through in a fitting way off the back of this. That leaves a stately tune that is equally gracious and tactile in terms of how it plays. It is let out in an opportune way that evens out, while the instrumentality that meets the troubadour aspects on show is also excellent. The scintillating “Songbird” was next. The pertinent feel in the flow allows it to easily take flight. There is a lot to admire in the delivery. The result of that sees the warmth fill out in an enigmatic way which is applied accordingly. They closed out with “Her”. What shows specifically on the intro is the mandolin. The whole song then hits the ground with a true pomp in the step that brings out the best in the band. Collectively there is a lot on show here that is backed up by the live performance. The curt feel to the vocals here sails through off the back of how marvellously well worked the arrangement on the rhythm is.