It’s a balmy 16 degrees in London, and the sun is casting a golden light across the concrete jungle of Dalston (climate change has its perks, eh?). Something is stirring; on the day that the UK was supposed to leave the EU, The Shacklewell Arms provides a welcome sanctuary from the depressing reality of today’s political landscape.
As the sun makes its daily descent, in an eruption of pink and orange hues, the East-end live music stronghold gets busier and busier. It’s a chatty, down to earth pub, that has played host to many great bands who have gone on to do great things - King Gizzard and The Lizard Wizard and The Horrors amongst them. Judging by the palpable atmosphere in the venue tonight, this could be the case for these bands too. Part of Annie Mac’s ‘AMP’ event, described as “Four days of discovery and discussion”, tonight’s gig curated by the music mogul herself boasts some of the best new names in underground music. Each of these bands have made it back from the notorious SXSW in one piece, having impressed audiences and other bands alike.
In the back-room of the pub, we step back into daytime thanks to the sun-soaked, surf-inspired kitschy mural that frames the stage. First act Squid emerge and seize the audience from the first chord of unreleased song ‘Paddling’. Considering the stage configuration, with drummer Ollie set back underneath a cavern-like archway, it could be easy for him to merge into the background - but that’s not the case. Each and every member is captivating to watch, so immersed in the sound they produce. So many bands fall into the trap of overindulging in the ‘jam’ phase of a song and forget there’s a crowd in front of them, however this is definitely not the case with Squid. They are formidable musicians in their own right, each bringing their own personality and flair to the band, yet their independence and capability as individuals doesn’t mean they’re isolated from each other. Somehow, that sense of togetherness onstage is retained; it’s almost instinctive, and further proves how tight they are as a band.
The intensity of the performance draws you in. They’re not demanding individual attention - yet you can’t take your eyes off each and every one of them. During an all-consuming trumpet intro to unreleased track ‘Rodeo’, you could hear a pin drop - someone actually shushes someone else in the audience, adding to the intensity. The track gradually builds into a scream, culminating in a screech of “life’s a rodeo”. The sound is angular, abrasive and wonky - with taut guitar riffs and tight drum beats, and wandering jazz-punk inspired interludes - but the actual performance of the set is fluid and effortless.
They switch between instruments with such ease. Even a brief interlude caused by a technical glitch could not stop them - they tear through latest release ‘Houseplants’ with such vigour and passion, much to the delight of the enraptured crowd. “Gardens ain’t a saviour” Ollie shrieks, baring his teeth. It’s triumphant. They finish on standout track ‘The Dial’ - the perfectly timed end to the track comes too soon, and leaves the crowd wanting more.
Members of Pip Blom are in the front row for the duration of their set, which surely is testament to Squid. It’s also convenient for Pip Blom - they don’t have far to go. They step straight up onstage to lay down their setlists and plug in. ‘Get Along’ by Sports Team comes on the venue playlist, and members of Pip Blom smirk knowingly at each other - they have Nice Swan Records and a co-headline tour in common with the aforementioned. It really highlights the sense of support that this scene has given rise to. Bands don’t see others as competition, more an opportunity for inspiration or - better yet - friendship.
What is most striking about Pip Blom’s set is how much heavier it sounds than on record. It’s a real opportunity for the other band members to come into their own - whether this is just due to Pip’s voice being low in the mix, or ultimately the mastering of the record - the live set gains a more visceral quality. The drummer has her own style, her own vibe, that makes you want to get on her level - frantic, electrically charged, she pounds her kit like an electric eel. Their instruments seem like extensions of their bodies, and it’s so obvious that they’re loving every single moment. ‘I Think I’m In Love’, which is the definition of Pip Blom at their fuzz-pop prime, receives a brilliant reception from the crowd. The band can’t stop grinning at each other - it’s infectious, and it reignites your faith in music; people doing this because they truly love it and couldn’t imagine doing anything else. The melodies are upbeat and simple, it’s pure, unadulterated fun.
While Squid and Pip Blom’s sets were effortless and reflective of their collaborative musicianship, it’s really all about Amy Taylor during Amyl and The Sniffers’ set. She is a brilliant frontwoman, and an electric start to the set was blighted only slightly by the cringe-inducing spit into the crowd; it feels so wannabe Jonny Rotten, and doesn’t necessarily go down well with the scene-savvy crowd. She fervently spits out the lyrics to ‘I’m Not A Loser’ - literally, she’s now gobbing onstage.
The track, however - in all its meaty, pub-rock glory, opens up the first moshpit of the night, the crowd quickly becomes a flying bundle of boots, jeans, arms and legs - and it’s only the first song. Next thing we know, Amy’s in the crowd and it’s her boots knocking the disco ball hanging from the lighting rig. She sends it swinging, reflecting shards of light around the room, adding to the chaos that ensues. She rips off her Adidas tracksuit top to reveal a skimpy black bikini top, and holds a bodybuilder pose. Her dark eye makeup intensifies her glare as she shouts into her mic, with a signature two-handed white-knuckle grip. All elbows, she lurches into the crowd and manages to perfectly land onstage in time for her cue. It’s simple, 70s power chord punk, so it’s a departure from the experimental nature of Squid and Pip Blom.
Amyl and the Sniffers are as raw as they come, but what you see is really what you get, while it seems Squid and Pip Blom are only at the beginning of their exploratory journey, continuing to bend the parameters of genre. It’s an exciting night, Annie Mac really knows her stuff.
