I arrived at The Cannon in Newport Pagnal at three in the afternoon and watched Dean Morley (bass guitarist), Kit Baume (lead singer), Matthew Phillips (rhythm guitarist), Paul Willis (lead guitarist) and Vinny Manser (drummer) setting up the stage for the sound check before the performance. The setting was the back-bar of the pub which was furnished with small wooden tables, an assortment of chairs and a medium sized stage with a lighting rig and quaint little disco ball. Officially it’s capacity is around eighty people, but in reality they would all have to be standing without the tables and chairs and preferably be close friends.
The atmosphere prior to the gig was of friendly banter between the band members with a serious undertone as the gig grew closer and sound checks and last minute rehearsals by individuals began.
The gig kicked off around nine pm with an audience of between thirty-five and forty. Not much one might think, but it was a reasonable sized crowd for a debut gig and they filled the room leaving only a small space in front of the stage for people to dance.
‘The Awful Truth’ attempted to confront the perceived need of the media and individuals to tell other people how they should live their lives. Aggression was the name of the game and Capo Jr. delivered beautifully whilst maintaining a varied and interesting melody. ‘The Awful Truth’ was catchy, brutally honest and a good solid rock song to begin the set with.
Listening to ‘You’re not Funny’ live was an experience. While it is obviously dedicated to the god of angst and the band pulled this off with similar success and style to ‘The Awful Truth,’ it is hard to take it seriously. This was not just my personal experience of it, there were people dancing to this song as if it were a lighter subject. It is not the lyrics or music itself that created this reaction, it is just hard to take something seriously when the lyrics dictate that the lead singer refer to himself as a ‘geeky little twerp.’ To me, in some ways this is a good thing, the subject itself is serious enough as it is, and widespread. There are few people I know on this planet that was not in their youth (and to a lesser extent in their adulthood) on one side or the other of the bully/victim cycle. We could laugh and dance along as the singer described the name calling and told the bullies what he thinks of them, but somewhere inside, I cannot help but sympathise and commend them for such an honest view of the situation which may just by existing help others who feel like it is a never-ending cycle, and that they are alone.
‘Hindsight’ was a complete change of pace for the set. Softer in tone, with lyrics more geared up to a love song beginning in the present tense. It appeared vulnerable and honest in the way it was played and sung, a compelling combination. The chorus became more forceful and complex as it questioned the lovers ability to withstand the relationship. A sad ending was implied from the beginning with a title such as ‘Hindsight’ but this was momentarily forgotten as the music pounded through the floorboards straight to the heart that didn’t want to think that it could not last.
As the next song began unrelentingly, I thought to myself, what can I say about ‘Dead eye Woman’? Funny, came to mind. Kit introduced the song as a story that he had heard when he had visited California last and he felt like it should be told. Whether it was true or not it really didn’t matter. The song packed a punch, it was entertaining, the storytelling style made it something you could listen to passively, or sing along to actively and the guitar line and drumbeat gave it a lively upbeat feel to what was a doomsayer tale of destruction at the hands of a ‘dead eye woman.’ Before the gig I had given the lyric’s sheets helpfully provided for me around to some of the audience, the lines that came back to me with laughter from several were: ‘The dead eyed woman well she swallow me whole, And she flushed my life right down the toilet bowl.’
‘I Hope it Hurts’ in the reading prior to the gig confused some of the people who encountered it. They believed that it was about wanting someone else to suffer, which read briefly it could easily be misconstrued to be. Upon closer inspection, the chorus line follows on to suggest that if it hurts then at least the subject of the piece is not dead. It was introduced as being dedicated to absent friends; I wouldn’t want to hazard a guess at whom. ‘I Hope it Hurts’ was another powerfully written piece that conveyed anger and frustration in every chord and beat.
‘Big Love Rock Song’ was a tongue in cheek rock ballad almost, about the commercial side of making music. The guitar riff and opening drumbeat put me in mind of a cheesy epic rock song the perfect setting for a parody. It was the kind of song that I could imagine being played in nightclubs and on the radio throughout the summer months it has definite mainstream appeal. Whether the band would want to have it carved into their gravestones, as their crowning achievement is another matter.
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The introductory riff to ‘Pride’ was delicate and slow in comparison to the previous song, giving the singer a perfect platform for a softer melancholy tone. The drumbeat was quiet and simple to begin with, as the pitch of singer’s voice raised towards the chorus line the guitar riff and drumbeat became louder and more complex. The lyrics gave the audience an idea of the depth of feeling the singer has for the absent lover and in the shift between present and past tense from verse to chorus also shows the effect it will have on the rest of his life. Live, ‘Pride’ was stunning; it was obvious to anyone that they really enjoyed playing this song.
‘Light my Fuse’ opened with a strong guitar riff backed by the drums that continued throughout the first few verses. The tone was sexy, gruff and upbeat and the lyrics reflected this. The chorus line was easy to pick up and sing along to even if it is the first time one had ever heard it. The mid section change of pace left the ground open for the guitar and drums to show off a little and they did so shamelessly.
‘First, last, Always’ did not seem to go down as well as others in this set. I don’t know if it genuinely was disliked because it was a quieter more melancholy tone amidst the heavy rock and witty parody so it was hard to tell. Kit sat down on the stage for this song, the only time he was not jumping around or singing at full tilt and this may have affected a change in response. Personally I found it didn’t seem right to jump around or shout when the song seemed so sad and open. Kit began the song softly and almost apologetically explaining the story of a lover who had to leave their love behind. The guitar riff and drumbeat were quiet and sympathetically pitched against the subject matter.
If you’ve ever encountered someone who endlessly whines at you that their life is going wrong but never seems to stop repeating the pattern that gets them into that state, you may feel some empathy towards ‘Compassion Fatigue.’ I know I did. If the feelings of helplessness, angst and apathy towards someone of that disposition could be translated into music then this would certainly be it.
At just over three minutes long, ‘Slave’ crammed in several impressive guitar solos. A solid drumbeat made dancing to this song easy and enjoyable. While the chosen guitar riffs compliment the melody line, they did not follow it. This contrast added another dimension that many pop song’s lack. The lyrics called upon a collective memory of a time when most of us have had a crush on someone who will never return that affection. As such it wasn’t difficult to feel sympathy towards the piece and Kit managed to shift his voice between frustration and sadness with some grace.
By the end of the gig the whole room was buzzing with excited voices and the band went to find ecstatic friends and family to get some feedback. They were even called back on to do an encore, which they chose to play a cover of ‘Pusher.’ Free from the feeling that they had to save some of their energy for the rest of the set they gave a stormy rendition that left the lead singer almost tripping over his own microphone lead with the movement and energy they gave out.
From my point of view as an observer, this was an amazing first gig, there were very few hitches and the band seemed to be connected enough to wing any minor changes to the agenda. Unlike many first gigs I have attended there were no glaring gaps in their knowledge of what they were playing and their talents compliment one another rather than struggling for supremacy.
E-mail contact for the band: capoproductions@aol.com
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