Low Key: Warwick battle of the bands

Heralded only by an Ents e-mail which clearly went straight to everyone’s junk folder, Bandsoc’s acoustic Battle of the Bands is just as important a test of a band’s ability as the main event.

Opening proceedings was solo guitarist and pianist Sarah Hacking-Brian. Impressively unfazed by first act nerves, Hacking-Brian played a 3 song-set moving from guitar to piano. She is talented vocally, combining a moodiness and quirkiness strongly reminiscent of Tori Amos. Perhaps her pensive singing was not fully complemented by full experimentation on either
instrument; repetitive chords formed the backdrop for the majority of her music and rendered doleful what ought to have been soulful.

Tuneful and moody follow-ups were pianist and vocalist combination George and Nikki. Opening with ‘Moonlight Song’, the pair gave a very strong performance although Nikki is clearly the more vocally talented of the two. The audience was particularly wowed by George’s innovative piano solos, and in spite of melancholy lyrics, this was a more upbeat set. Classic and confident, the music was very fitting for the Graduate Bar, but let down by a slight lyrical repetitiveness.

Where the first two acts relied on minimalism, The Frolics trundled onto the stage trailing clarinets, violas, double-stringed guitars and some kind of bongo thing in their wake. Sounding somewhere in between Broken Social Scene and the Rolling Stones in their Their Satanic Majesties Request days, The Frolics would not have been out of place in the ’69 Woodstock. Sterling performances from multi-talented clarinettist/violist Gemma Kappala-Ramsamy and drummer Cai Wingfield formed a chirpy, experimental backing to gravely, catchy vocals of Joseph Oldham. A trippy, mood-lifting performance with audience participation on a high. (Not literally, despite all appearances).

Toning the atmosphere down to minimalist again, one half of newcomers Dry Land performed a laid-back guitar set. This was the band’s first gig and is a promising indication of their electric performance in the fifth heat of Battle of the Bands. Unfortunately, the sound team were a little overenthusiastic after the loud psychedelics of The Frolics, and the careful intricacy of Rob Darnell’s guitarring were rather lost. Ian Thompson’s mellow, modulated vocals (well matched by layered chords and subtly stirring picking) rewarded careful listening, however. Further thought on the balance between vocals and guitarring, and more gig experience will give Dry Land the confidence they need for a fully rounded performance.

Penultimate act Jason Morgan bounced onto the stage with his guitar. Betraying an Irish lilt in his introduction, Morgan threatened to be another James Blunt wannabe. Certainly he blends a similar melodic melancholic sound, but his vocal confidence removes any dullness. His skill at guitarring and singing simultaneously, combined with a rhythmic interest quite difficult to achieve in an acoustic set made Morgan stand out. His guitarring is not to be faulted and is well-tailored for acoustic sessions.

If Morgan bounced onto the stage, the acoustic version of BOTB finalists Young and the Damned owned it. Like the Frolics, they provided an eclectic instrumental mix (was that a xylophone I saw in there?) although they provided a more frantic sound. Oozing stage charisma, the band radiated experience and enjoyment of their music. Citing The Killers, Depeche Mode and the Smiths as their influences, the acoustic trio consisted of talented pianist Jake Brookman, vocalist Patrick Carr and drummer Chaz Tomlinson. Fusing Futureheads-style vocal harmonics (that’s where any similarities end) with a sped-up take on the cheekiness of the Dirty Pretty Things, Young and the Damned were energetic and fully deserved their winning accolade.

Judges’ pick:

The Young and the Damned: http://www.myspace.com/youngandthedamned

Jason Morgan: http://www.jason-morgan.co.uk