Listen, when you’re encouraged to attend an event entitled ‘A Night For Emo Losers’, are you really going to say no?
I will confess, there was a degree of smugness I felt upon seeing the final line-up of this event consist of four bands I have championed. Divorced from that, however, what Heretical Events presented is exactly the kind of evening that I relish; four bands with barely any songs released performing in a local basement venue. Live music doesn’t get much better, or more important, than that.
There’s a real sense that the grassroots musicians rising through the ranks now acknowledge the importance of community, and this show is absolutely no different. Even in the crowd, local musicians such as Deshine’s enigmatic vocalist and Norwegian indie artist Mina My could be seen. Music should be about building one another up, after all.
Opening up the proceedings was Newcastle-upon-Tyne based Labyrinthine Oceans. The four-piece defy east categorisation, with their blend of melancholic shoegaze and sweeping indie rock culminating in an experience that is paradoxically as claustrophobic as it is expansive. It makes for a bristling, effervescent listening experience, but does raise questions on how a band would translate this to a live setting.
Immediately what is clear is just how talented each of these musicians are independently. Toby Flynn is an impressive bass player regarding both his technical proficiency performative flair; complex melodic passages are woven with slick groove, truly popping in a live environment and giving the audience something to truly grasp at the core of the performance.
‘Amend’ features an incredible slap bass solo, accompanied by wonderfully textured guitar work from Ellie Bunker. The pair bounce off each other wonderfully, with a real chemistry that only comes from a band with a shared vision and passion. On ‘Apartment’, the expressive and powerful vocals of Julia O’Neil are delivered with a masterful flair; the bar staff look at one another approvingly as she vaults into sparkling, soaring passages.
It’s not just the staff that are won over, however. The crowd are sucked in with ease, and as the band cruise through ‘Loose Ends’, there are ripples of movement through the audience. Sotto isn’t quite big enough to dance in, but it’s easy to imagine that given a suitably sized venue, Labyrinthine Oceans could stir up quite the frenzy.
Reaching their recently released singles, ‘Home’ and ‘Untitled’, O’Neil seemingly transcends her humanity and shifts into an unsettling, beguiling presence. Her vocals snap between a tender melancholy and a violent desperation, rising to screamed passages as O’Neil almost seems to be tearing at the seams. It’s a commanding display that the audience are thoroughly invested in, and that itself is particularly impressive given the abstract and oblique nature of these tracks.
Kudos must be given to Patrick Ilderton, forced to contend with, as one of the other acts would refer to it as, ‘the worst drum kit [they’ve] ever played on’. An entire leg becomes detached from the floor tom half way through the set, forcing quick improvised thinking as it is reassembled into some vaguely usable form. If this at all rattled Ilderton, that was not conveyed to the crowd at all; his performance remained focused and free-spirited throughout.
It’s an impressive and exciting display of creative musicianship from start to finish, and despite their musically amorphous nature, it’s clear that there is an energy inherent to Labyrinthine Oceans that appeals to people from a wide range of musical backgrounds. With an expansive nationwide tour now ahead of them, there’s a real chance that Labyrinthine Oceans may not only be about to conquer the underground of indie, but also peak their heads above the parapet into mainstream consciousness.
Visiting from Birmingham, Vienna have brought some midwest emo and post-hardcore flair to the evening. The band released their second single, ‘Stare into the Sky’, back in February; it’s a gorgeous breezy cut featuring production from legendary emo producer Jake Checkoway. They mean business, or at least as much business as a band with a track entitled ‘Comically Large Spoon’ can mean.
There is a real infectious energy to the band’s stage presence, as they fizz with controlled movement and vibrance. Scrappy punk vibes sit beneath their jangly, noodling guitar passages and shrill vocal screams, and pockets of the crowd immediately connect with it.
The musicianship behind ‘Stare into the Sky’ is truly allowed to shine through in a live setting, making you appreciate just how deft the performances are. The guitar performances from Ben Jones and Will Collins are complex without feeling like soulless technical showcases, whilst the sung vocals from Jones are warm, charming, and resonant.
Joe Lewis battles with the slowly disintegrating drum kit, and whilst the band are forced to take a brief interlude to reassemble it once more, the welcoming atmosphere doesn’t diminish in the slightest. A cover performance allows the band to find their footing once again, and regular service is resumed.
It’s their softer material, however, where the band truly possess an impact. The aforementioned ‘Comically Large Spoon’ is a shockingly tender number, with Jones’s vocals weaving simple yet wonderfully effective melodies through densely packed layers of instruments. Yes, their upbeat numbers get people moving, but it’s this moment of pensive melancholy that truly stands out as a highlight of the evening for the band.
Their upcoming release, ‘Ratatouille? I hardly know her’, is performed next, and brings things back to a free-spirited atmosphere of infectious fun. Looping bass lines intertwine with blues tinged guitar licks, and you really get the feeling that this set is Vienna warming up to truly take on the outside world. The band aren’t here to put on some polished spectacle, but instead provide a hearty welcome to their world, where your cares can be left at the door.
By the time the band have played out their debut single, ‘I hate falling, but I’d fall anywhere with you’, you can’t help but wonder if Vienna could be your next cult emo favourites. There’s a genuine playfulness and an earnest warmth to it all that you can’t help but find endearing, and that’s before we even discuss the impressive technical proficiency of these musicians. Fans of emo are missing out without a little Vienna in their life.
At this point I suspect by fate is intertwined with this band at a cosmic level. The original line-up for this show did not feature Danger Dog, yet after one act dropped out, the West Midlands Midwest emo band stepped up to cover. The writings of this here blog have covered the live antics of Danger Dog twice before, so why not make that a nice round trio of live reviews?
Prior to this, I had witnessed Danger Dog take to the ornate stage of the Paul McCartney Auditorium, performing their most ambitious set yet. Sotto exists at the other end of the spectrum, with barely enough room for the instruments, let alone the people playing them. However, this is Danger Dog’s familiar territory, and they are skilled at conjuring up a simply unmatched electrical atmosphere.
Hitting up their big numbers such as ‘Big Z Surf Memorial’ and ‘What If We Get Sick Of Each Other’, their confidence as performers truly shines through. Embellishments on the original tracks are woven in throughout, elevating the performance from a live rendition of their music to something that feels alive and responsive; Rohan Kapoor’s bass performance is particularly fantastic in this record, with intricate little details added that reward long time listeners, whilst also not removing the original identity of the tracks.
Vocalist Harry Heming is more impressive than ever before, demonstrating fantastic control over both their screams and their resonant lower register. The emotive moments that are threaded through the setlist now feel genuinely impactful, and enables the melancholic lyricism to truly shine through, especially on the incredible unreleased material.
The audience, as expected, drink it all in. Some at the front are dancing along, whilst others familiar with their material can’t help but sing-along. This applies even to the band’s unreleased tracks; their cult status within Liverpool is impressive, the band bringing something that the city didn’t even know it needed.
Bringing the set to a rapturous close with their longest and most ambitious track by far, it’s this performance that solidifies Danger Dog as not just musicians, but actual performers. There’s a sense that the band have finally solidified their identity and gathered their focus, ready to take a solid set of vibrant songs to the rest of the nation. Their first set in London is coming up quickly, and I think that London isn’t quite prepared for what’s going to hit them.
Approaching this concert, similarly to Labyrinthine Oceans, I was uncertain how Ugly Jumper would translate in a live setting. Their debut single, ‘hate me, please’ is a visceral, brooding cut that features stunning yet unsettling vocals from KC, and intricate yet stripped back instrumental work. It’s certainly dramatic, yet would any of that weight be lost in a live setting?
Even before the band commence their set, there’s a real buzz of anticipation for them. The venue is packed out by this point, people pouring in to catch the latest cult indie stars of Liverpool. Numbers aren’t everything, but with a debut single that has already broken 10,000 streams, you can’t help but wonder if Ugly Jumper are a band at the start of a very special career.
The band already have an extensive unreleased back catalogue that they treat the audience to. ‘cptn_andy_pants.doc’ is loaded with 80’s vibes, with a theatrical punk energy that is delivered with style. KC is a powerhouse in terms of both vocals and presence, with immense belted passages colliding with an ethereal upper register, punctuated by sharp barked shouts.
Immediately, what strikes you is just how much fun Ugly Jumper are to watch. Screamed backing vocals from guitarist Nat Owens go down a storm with the crowd, who are already dancing freely to songs they’ve possibly never heard before. The bass lines are gut-punchingly brilliant, twisting and turning with effortless coolness.
’Instant Messaging’ packs bombastic rhythms alongside KC’s wild vocal performance, as she alternate between a playful funk and visceral screams. She exists as a truly captivating presence on stage, exuding an untameable, unpredictable energy, and gifted with an effortless wry wit. Despite her constant moving, her vocals are phenomenal throughout, losing none of their strength or vibrance.
Local musician Megan Roberts makes a guest saxophone appearance on the band’s upcoming single, perfectly complimenting the intelligent, chaotic humour of the band. From there, the band breeze through ‘Spit’, which is available as a demo on Soundcloud, and ‘Never Matters’, which brings some great audience involvement.
Throughout ‘Karma’, bassist Andy Moores keeps ending up with new pairs of sunglasses, and by the end of the performance, somehow the entire band are decorated in them. If a career in music doesn’t work out, then there is an Ugly Jumper quick-change magician act in the making right here.
Not that the band have to worry all that much about failure. They close off their set with their single, ‘hate me, please’, and deliver an incredibly powerful performance in the process. It’s a viscerally cathartic moment, with the audience singing along to every single one of KC’s melancholic words. It’s a stunning moment that solidifies Ugly Jumper as one of the most exciting bands coming out of Liverpool right now; different enough to stand out, accessible enough that anyone can pick them up, and wild enough that you won’t forget them.
In a world of £300 concert tickets, arenas and stadiums, and live music that feels more and more distant every day, it is important to remember that it doesn’t have to be that way. There is an entire grassroots community right in your local city that is ready for you to explore. You don’t need to know the words to the songs. You don’t even need to know the bands. For less than £10, you can have a truly incredible evening of some of the most exciting upcoming talent around.
The Viennas, the Ugly Jumpers, the Danger Dogs and the Labyrinthine Oceans of the world are just waiting for you to find them. Go on. You might just find your new favourite artist.
Featured photo credit belongs to @joephotojoe10.
Follow the bands on social media below:
Labyrinthine Oceans
Instagram // Spotify // Twitter
Vienna
Instagram // Spotify // Twitter
Danger Dog
Ugly Jumper
VINYL FANTASY REVIEWS 
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