MUSIC

The Croft, Bristol (Thur 11 Aug)

It’s a testament to Oxjam's principles that they lean towards the local music scene, giving a platform to up-and-coming bands from the area a chance to showcase their talent, but one can’t help thinking, upon walking into the back room of the Croft to be greeted by one other punter, they might be better off just pleading for JLS to come to town. That’s where the money is. Still, the room gets quietly busier as Dirty Kiss take to the stage, the intimate venue and sporadic crowd lending an atmosphere akin to having walked in on a jam session.

It’s a fine jam session to sit in on though, the heavy and serious Dirty Kiss smashing through a decent enough set of classic, soaring rock, each track building to a lovely mesh of noise. They really hit their stride when they let go, great guitar solos spluttering to the surface of a sea of sound that just seems infinite in the moment. Seemingly influenced by Status Quo, Led Zeppelin, Kings of Leon and Lenny Kravitz all at once, it works. Sort of. By the sixth track everything starts to feel a little formulaic and interest wanes. The frontman has a great voice, last track ‘Down In Mexico’ leaves a pleasant taste in the ears, and there’s little not to like about them – but, then, that’s almost the problem.

Bite The Buffalo are a different proposition – a Zambian two-piece specialising in a brand of stomp rock which is almost screaming out for White Stripes comparisons. Frontman Stos is the main draw, excitedly delivering everyman lyrics with a raggedy but formed voice, cranking out bluesy riffs and cock-walking the stage like he owns it. Each track is short, sharp and to the point, the perfect antidote to what went before and mesmerising to watch. Good noise.

And then Silhouette Showgirls. Well, let’s get the first impressions out of the way first. They look like the kind of band who might write a few songs in the morning, get their chests waxed together before lunch, hit the gym in the afternoon, then head down the pub to watch the rugger in the evening. They just look too pretty to be rock and roll. Within 30 seconds of opening track ‘The Art Of Mind Control’, all is forgiven. They’re good, fucking good, in fact – and that’s not an adjective that’s used lightly. In fact, it’s bands like SS who make reviewing the local scene worthwhile. Melodic without being trite, heavy without swamping a track, they have a perfect sense of how to build a track properly, when to rough things up and when to hold back, holding the attention of the criminally small crowd for the whole set.

Singer Daniel Gibb certainly has an original stage presence, a performance style so much like a young David Copperfield it’s a surprise a flight of doves didn’t appear out his trousers. OK, so the vocals veered dangerously into Bon Jovi country at times, but just close enough to make you think that Bon Jovi might not have been that bad after all. The influences were there but this band has a sound of their own, a trait that’s nigh on impossible to nail with the glut of bands that bloat the current scene. They’re the real deal, ‘When In Rome’ deserves to be an anthem, and if there’s any justice (which there isn’t), these Chippenham boys should be destined for bigger things. (Stuart Roberts)

Copyright Stuart Roberts 2011