23/02/2012
I arrive at Brudenell Social Club,
favourite venue of students and locals alike, just in time for the
beginning of the second support act’s set. As someone who appreciates a
good vocal harmony and a violin, it’s hardly surprising that I
immediately warm to Goodnight Lenin. Their music is reminiscent of
Mumford and Sons with noticeable Celtic influences, and they do some
easy point-scoring early on with frequent three- and four-point
harmonies. It’s because of this that the highlight of their set, for me,
is ‘Wenceslas Square’. Its lilting melody provides the perfect
atmosphere for punters to gather with drinks in anticipation of the
headline act, and the vocals are tight and polished. Their tendency to
ramble between songs is easily forgiven – Goodnight Lenin are instantly
likeable, and the audience also takes to them quickly.
Everything about Beth Jeans Houghton’s
music is self-assured and confident, and so it is fitting that she and
the Hooves launch into their set without introduction or apology. Taking
some of the audience by surprise with a lively drum intro, Beth and the
Hooves of Destiny need no time to get into their stride; they are
clearly on top form from the outset.
By no means would it be fair to brand
Beth with the ‘nu-folk’ label that has emerged in recent years, but it’s
quite possible to see how some people might lean towards that
conclusion based on the opening number ‘Atlas’. While brisker and less
wistful than the music of female singer-songwriters like Laura Marling,
folk influences are apparent in this track. She is saved from being
pigeon-holed by the backing of a full band – she herself plays electric
guitar, and the Hooves utilise a range of instruments, from the
indie-band staples of drum kit and bass to violin and trumpet. Beth’s
voice is an instrument in itself, and the band joins in for incredible
four-part vocal harmonies, tightly executed even during the live
performance.
Beth’s voice lies somewhere between that
of Marling and Marina of The Diamonds fame. It is almost impossible to
believe that she is only 21 – her voice already has a startling maturity
to it. I have to admit I prefer the lower registers; she has a
tendency, when performing, to add quivers and trills on the higher notes
which sound a little too affected to feel quite natural. Nonetheless,
it’s clear that the incredible vocals on the record aren’t simply owed
to good studio production. She soars from delicate and ethereal to deep,
rich and intimidating in the space of one song, with a range that most
singers couldn’t even contemplate.
Drawing almost entirely on songs from
their debut album, BJH and the Hooves showcase an already diverse
repertoire – the second half of the set, particularly, is less folky
than the first. ‘Franklin Benedict’ is darker and more dramatic, and one
of the highlights of the night; Beth’s voice is rich and menacing as
she growls “I caught you framing Franklin Benedict”. ‘Veins’ draws on
soul and blues before bursting into an upbeat chorus which, while
incongruous, works surprisingly well. The change of pace encourages
enthusiastic dancing at the front of the room.
For a band with such an unfathomably
ridiculous name, Beth Jeans Houghton and the Hooves of Destiny are
remarkably unpretentious. After experiencing the grandeur of their
recently-released album – the equally bizarrely-titled Yours Truly, Cellophane Nose
– it’s difficult to imagine having any normal human interaction with
any of them. So it comes as somewhat of a surprise that both Beth and
the guitar and trumpet player Ed Blazey spend most of their time between
songs cracking jokes to each other and the audience. Dancing is
strongly encouraged, and more than once I catch Beth laughing
good-naturedly between lyrics at some particularly enthusiastic
individuals at the foot of the stage. She announces a dance-off, and by
the end of the night has named the winner ‘Fun Kevin’. She dedicates
‘Dodecahedrons’ to a heckler, saying “this is for the dick”. Never one
to hold a grudge, she’s quick to affirm him: “you’re not a dick”. The
band has a great ability to switch effortlessly from light-hearted
banter with the crowd to impressive renditions as effortlessly as they
move between genres in their own music. Beth particularly gives every
impression of being completely at ease in the intimate Brudenell.
Goodnight Lenin are welcomed onto the
stage again as Beth turns her back to the audience – turning to face us
with the unmistakable lyrics of the final song. Having begun in a
sufficiently dramatic fashion, what ensues is a raucous cover of ‘Like a
Prayer’. There is barely room for all the members of the two bands to
fit on stage, and I’d make a safe bet that it’s the most fun I’ve ever
seen anyone have at their own gig. The result is a healthy mix of
tribute and good-natured Madonna-bashing as Beth waves a black doll
around irreverently. With this completely unexpected turn of events, the
audience – who, with the exception of Fun Kevin and a few others, have
until this point been fairly reserved – finally loosen up and dance
along.
As any regular gig-goer has come to expect, the ‘closing number’ never
closes the show. The support, we’re told, don’t know the encore ‘Prick’,
so this is “a bit of an experiment”. Since their main role seems to be
shouting “fuck off” at regular intervals and providing entertainment
with their obvious confusion, this isn’t a problem, and the night ends
on a high.
______________________________________________________________________
Author: Beckie Smith
Photos: Beckie Smith
Source: Lippy
Date: March 4, 2012
Original article: HERE
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