February 28, 2011
The night kicked off at just gone eight when solo artist King of Cats burst his way through the fourth wall and silenced the Bully’s backroom with the first high pitched dirge of his set, assisted only by the pluck of his ukulele and the stamp of his feet. It was an audacious, attention-grabbing entrance, but as the King of Cats’ theatrics gradually lost their novelty his music seemed increasingly like a worthy chore and less like the unexpected joy it had initially promised to be.
Next up were The Epstein, who though far easier on the ear than their predecessor are a band that represent the very opposite end of the spectrum, with an indie-folk sound as melodic and proficient as it is familiar. And therein lay The Epstein’s problem: though their music ticks many of the same boxes as other successful indie-folk bands, such as Mumford and Sons, or Fleet Foxes – because their lyrics seem void of real meaning their music lacks the belief those other bands demonstrate in abundance.
Finally, She Keeps Bees breezed onto the stage, an edgy Brooklyn two piece that instantly intoxicated the audience with a thumping set of simple yet compelling blues-rock. While listening to the combination of Jessica Larrabee’s smoky, sensual vocals and simple guitar chords and Andy la Plant’s infectious primal drumbeats, it is easy to draw comparisons to numerous well respected girl/boy rock duos. And yet it is far more difficult to place what sets She Keeps Bees apart as something new and entirely original. Perhaps it’s the sense of extreme conviction in their every drum-thump or chord-strum, the profundity of Jessica’s lyrics, or the sensuality that resonates deep within their music as a whole; but whatever it is, it’s only a matter of time until the whole world recognises the rewards of her beekeeping.
Next up were The Epstein, who though far easier on the ear than their predecessor are a band that represent the very opposite end of the spectrum, with an indie-folk sound as melodic and proficient as it is familiar. And therein lay The Epstein’s problem: though their music ticks many of the same boxes as other successful indie-folk bands, such as Mumford and Sons, or Fleet Foxes – because their lyrics seem void of real meaning their music lacks the belief those other bands demonstrate in abundance.
Finally, She Keeps Bees breezed onto the stage, an edgy Brooklyn two piece that instantly intoxicated the audience with a thumping set of simple yet compelling blues-rock. While listening to the combination of Jessica Larrabee’s smoky, sensual vocals and simple guitar chords and Andy la Plant’s infectious primal drumbeats, it is easy to draw comparisons to numerous well respected girl/boy rock duos. And yet it is far more difficult to place what sets She Keeps Bees apart as something new and entirely original. Perhaps it’s the sense of extreme conviction in their every drum-thump or chord-strum, the profundity of Jessica’s lyrics, or the sensuality that resonates deep within their music as a whole; but whatever it is, it’s only a matter of time until the whole world recognises the rewards of her beekeeping.