Sometimes, the best premises are the most simple, and in support of that argument is the work of Fresh Finds Live. A collaborative project between Rough Trade Liverpool and The Good Times, this new promotional project sees four grassroots artists from around the north west region taking to the stage for a night of music that only costs £10. No frills, no gimmicks, just a space for rising talent to not only perform to new faces, but perform on Rough Trade Liverpool’s fantastic stage. The 6th of June saw Atticast, dollop and Ugly Jumper supporting a headline set from Vetala in an evening that stretched from midwest emo to britpop.
North-west pop-punk trio Atticast are selected to open the night. An increasing staple for pop-punk line-ups in the region, the band dropped their debut single ‘Counting Sheep’ in January of last year, and have maintained a steady flow of releases since then. Their recipe is simple, but highly effective; scrappy riffs and energetic rhythms that drive forwards beneath infectious, bittersweet melodies.
There is a degree of shyness about the band when they first take to the stage, but as they rip through a riotous punk number, it very clearly begins to dissipate. The lead vocals are surprisingly strong throughout, backed up by well-rounded harmonies that give their work a real sense of substance. Their stage presence is not overzealous, but comfortably composed throughout, especially as they settle into their set.
A slower number in the back half is a particular highlight, with a Fountains of Wayne energy. Steady grooves are carved out by the bass and percussion, never overstepping, but snagging you with surprisingly unshakable catchiness. The band note that they are working towards a debut EP, and this set has placed them firmly on the radar. Atticast deserve to have confidence; they are not only incredibly solid performers, but bring a blink-182 styled snot to the emo scene that it is frankly crying out for.
Things take a turn for the subtly weird with the arrival of dollop. The familiarity of britpop melds with the unconventional; percussion skitters about frantically, whilst shrill guitars cascade about you with a haunting, hypnotic effect. Vocals start as a Gallagher esque snarl, but shift and morph into unexpected, impressive belted highlights.
Clouds of discordance coalesce atop of wickedly danceable rhythms, like peering back into the memories of Shit Indie Disco nights of days gone by. A jangly indie pop cut gives way to a hazy, groove-laden instrumental, the musicianship consistently shifting and contorting around familiar ideas; it is perhaps the thinking man’s indie rock, pulling influence from post-punk, psychedelic rock, and blues rock.
The band are aloof, but far from disengaged. It is as if they would have been on this stage regardless of whether an event had been held here, existing outside of time. We were guests in their parlour, and whilst some may find this lack of theatrics off putting, many others will find it to be intriguing to the nth degree. They were here to perform, we were here to listen, and the rest was of no consequence; they weren’t here to pretend otherwise.
Going forwards, dollop feel like firm contenders to be cult favourites of the indie rock scene. Their enigmatic nature is backed up by strong musical talent, and their focus on substance over aesthetic is guaranteed to appeal to people who want their rock music with zero distracting frills attached.
Having witnessed six prior performances from emo five-piece Ugly Jumper, the assessment of their live capabilities for this seventh time permits judgment as to whether the band are stagnating, or accelerating. The last had been the band’s co-headliner with Pale Sailor and Smallworld at Quarry, where they effortlessly commanded the crowd through an expansive and exciting set; this was the first time that it truly as felt as though the room was packed wall-to-wall with fans of the band. For this show, however, the band were once again faced with a crowd dominated by strangers to their antics.
Yet if the band had any nerves, none were shown; four years deep into their career, the band now exude a soft but unquestioning confidence. Whimsical before a single note has been played, KC Hamer pulls the crowd forwards with the loose, nonchalant wave of a hand. Fans in attendance oblige happily, whilst the rest permit their hesitance to give way to cautious optimism. Thankfully for newcomers, Ugly Jumper are a band that seem to get better with every performance. The musicality is tighter, the presence is bolder, and the chemistry is stronger, with brand new drummer James Genty having firmly found his feet within the band.
KC utilises the entire stage with the attitude of a headlining act, delivering her powerful, cartwheeling vocals with brilliantly reckless abandon. Ripping their way through tracks such as ‘Television! Teacher! Mother! Secret Lover!’ and the unreleased ‘Mosaic’, the individual performances, and the growth of each member, can truly be appreciated. Nat Owens (Monroe., Arcadia Ego, Buried in Amber) has developed such a distinctive guitar playing style; you hear those pinch harmonics and intricate flicks, and you instantly know it is him behind the strings. Similar can be said of Andy Moores, who has developed a wonderfully melodic approach to the bass that far surpasses many of his peers; seeing a bassist play beyond mere root notes increasingly feels like a dying art that should be cherished.
Live staple ‘Captain Andy Pants’ receives its greatest rendition yet; the duelling guitar work of Owens and Lucas Hammond works brilliantly thanks to the band’s magnificent chemistry, whilst it becomes apparent that, out of nowhere, KC can deliver some pretty fantastic screamed vocals. With a little more polish on their technique, this could become another devastatingly brilliant tool in the Ugly Jumper arsenal. Conversely, ‘Penny Pot’ shows the more emotive facets of the band’s identity, and feels just as naturally captivating as any other song in their set; momentum is not lost in exchange for a moment of softness.
Even when faced with a distinctly and subtly difficult crowd, Ugly Jumper refuse to show nerves, and continue to provide a performance that could be mistaken for a headline set. Some bands stagnate in a live context, relying too heavily on their tried-and-tested methods and becoming tragically predictable in the process. Ugly Jumper, on the other hand, continue to push themselves with every performance, treating every show as if it were the biggest headline set of their careers.
Unlike the rest of the line-up, headliners Vetala have yet to release a single song, yet that didn’t stop the Liverpool four-piece from having the strongest turnout by far. The front of the room fast became packed with supporters of these musicians; friends, family, and fans intermingling in a lively congregation that eagerly anticipated the performance. It is a genuinely refreshing delight to behold; creatives being supported by the community they know,
It is difficult to believe that a sound so large can come out of just four people. Attendees are immediately assaulted by immense riffs, thick bass lines, and an absolute juggernaut of a percussive performance from the band’s incredibly talented drummer. Dual vocals display both snarling grit and unrepentant power, rich with character and swagger. There’s a clear confidence about the band, but it never tips into the territory of arrogance; they remain humble and likeable throughout.
A slap bass line cuts through sleazy indie riffs during one track, channeling Franz Ferdinand in their 00’s heyday; it is a brilliantly executed addition, surging along with the monolithic swagger of a stomping percussive beat. There’s a real strength to the musicianship, as Vetala rip through one after another intelligently crafted indie anthem, delivering their retro-tinged sound with modern creative flair.
That aforementioned humbleness spills over into open appreciation, as the crowd remain highly receptive and energetic throughout. It is clear that this is an opportunity that Vetala are grateful for, and between their stadium-sized sound and grounded nature, it is hard not to imagine Vetala quickly becoming a staple of north-west indie fixtures. There is real, exciting potential about this band, adding something distinctive and fresh to an already expansive scene. Keep an eye out for their name.
Follow the bands on social media below:
Atticast
dollop
Ugly Jumper
Vetala
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