Photo: Emma Viola Lilja
Justin Young is readied like a heavyweight boxer, posturing to deliver a knockout blow in the first round of three nights at Brixton Academy. Finally, he surges forward as the lights flare up to opener ‘Handsome’, an immediate strong right hook from this year’s English Graffiti.
And it’s a barrage that never lets up. ‘Teenage Icon’ follows without the slightest hint of a pause. The Vaccines only know immediacy. It’s how they have survived indie rock’s wilderness - cooking up a feast of sugar-coated pop hooks doused in guitars.
This instant appeal has propelled the band to arena-sized heights, and Young is now well versed in commanding the stage as a consequence. Tonight, he is either strolling around stage as if it were his living room, or catching the eye with Morrissey-inspired theatrics, arms outstretched, dropping to his knees during melodramatic choruses of heartbreak and disaffection.
When not splattering through The Ramones and Strokes-inspired indie-pop of their back-catalogue – ‘Tiger Blood’ incestuously co-produced by Albert Hammond Jr – guitarist Freddie Cowan takes on a less prominent role. The 80s led synth pop of English Graffiti's ‘Dream Lover’ resounding more through Arni Arnason’s bassline funk than thrashing chords. It’s a welcome variation with mammoth choruses still present, of course.
Young has explained away English Graffiti by saying, "We wanted to make something that sounds amazing next year but terrible in 10 years!" Essentially, a record to be forgotten by the travails of time. But its worth tonight is clear. For the long-term survival of the band, a new sound needed to be explored. ‘Melody Calling’, the stop gap single in the transition from the rapscallion Come of Age LP, is softly spoken beauty, and now makes complete sense in light of the new direction.
It is these moments of diversity that are the real highlight. The substance of ‘Wetsuit’, an indisputable modern coming of age classic, is similarly matched by ‘All in White’ because they reach with lyrical purpose rather than pure chorus; a curved, rather than straight, arrow to the heart. Young began in folkier pastures with Jay Jay Pistolet before The Vaccines life came calling, and even though the band end the night shaking the walls with the breakneck, lustful ‘Norgaard’ – streamers cannoned from the stage - it is the acoustic, stripped performance of ‘No Hope’ that lingers longest.
The debut album asked, “What did you expect from the Vaccines?” The answer is nothing less, but possibly more. They know it too, and are searching restlessly for an answer. Suspend this itch when seeing them live and enjoy the fizzy pop. It’s an instant treat.
