There are not many new young bands that can tempt me out on a cold October night, but luckily for me I made the effort for the 22/20’s. Currently on a (mostly) sold out tour of the UK, the 22/20’s promised much with their eponymously titled debut album, and man, do they deliver in a live setting.
First support this evening is young American singer/songwriter WILLY MASON. I invariably feel sorry for support acts, and tonight is no exception. First of all, nobody is really there to see them, secondly, the continuous flow of people as the venue fills up is perennially annoying, but worst of all is the incessant chattering supports usually have to compete with.
All things considered then, Mason put on admirable performance. Judging by the queue for his cd at the end of his set, his acoustic tales, reminiscent of a Tom Petty/M. Ward hybrid, won over more than a few hearts this evening. Songs such as “Waiter At The Station” and “Oxygen” show much promise, proving that Mason is more than just a pretty face.
Speaking of pretty faces, next on tonight’s triple bill is 25 year-old Dublin rocker CATHY DAVEY. With her 4-piece band, Davey unexpectedly thrilled the crowd with her conventional pop rock.
I have to admit that I’ve always been a bit wary of female fronted rock bands; I think I was traumatised at a young age (think Suzi Quattro, Joan Jett, L7 etc.) My cautiousness has waned recently, mainly due to Natalie Merchant and Polly Harvey, but I still get that knot in my stomach when I see a leather clad grrrl with guitar in hand. You can now add Cathy Davey to that latter list.
It would be fair to say that if Cerys Matthews and Catatonia didn’t exist, then Cathy Davey would probably shift a million units. Unfortunately for her, they do, so she won’t. Still, with songs like the dark and broody “Hammerhead”, and the spikey hook-laden “Go Make It” you should be hearing a lot more from Ms Davey in the not too distant future.
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But to the main event. By the time the 22/20’s spilled onto the stage, the small hall in Edinburgh’s city centre was bursting at its sweat-stained seams. Named after the Skip James track “22/20 Blues”, the Lincoln 4-piece crashed and thrashed their way through an hours worth of material.
Culling most of the set from their debut album, their blues-based punk rock went down a storm. The rousing singles “Devil In Me”, “22 Days” and “ Shoot Your Gun” were rapturously received, but the band also showed their softer side with the Dylanesque ballad “Friends”, and the wonderful “Things That Lovers Do”.
Lead singer Martin Trimble proved to be the archetypal front man, combining his youthful features with rough gravelly vocals. Bass player Glen Bartup strutted the stage all night like a proud peacock with a Joey Ramone complex, while new member Charly Coombes pounded away on keyboards, proving that the ‘erb is best consumed sitting down.
After an hour, the band exited leaving the crowd gasping for more, only to return and delight everyone with a rousing version of Slim Harpo’s “King Bee”.
With bands like the 22/20’s, the future of Rock’n’Roll is in safe hands. And at long last it’s been proved, once and for all, that loud is the new loud.
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