Music’s latest dawn of opportunism has given birth to a new type of musician: the bedroom artist. From Clairo to Girl in Red, the recent capabilities of musical creation have reached new heights, and @ are no exception. Consisting of Victoria Rose and Stone Filipczak, the Baltimore–Philadeplhia duo brought their debut album (“Mind Palace Music”) to life in their inaugural voyage across the Atlantic in a compact set of mesmerising music.
Released just over a year prior to their debut South West show, “Mind Palace Music” is an album that celebrates the endless opportunities of musical creativity. Digitally formed through hundreds of iMessages that bridged the physical barrier of the Baltimore-Philadelphia duo, it boasts a strong connection to a seventies-inspired sound. The LP is raw and euphoric, yet it is also calming and nostalgic – these juxtapositions evoke an array of emotions. “Mind Palace Music’s” contradictions – both instrumentally and lyrically – were perfectly transposed in their recent Bristol performance.
As the time grew closer to 9pm, the crowd began to slowly meander from their half-drunk pints into the dimly lit backroom stage. Eagerly congregated, the only audible noises were the few anticipatory murmurs that rippled within the audience. In what was a unique and personable method of entrance, @ made their way through the crowd and onto the stage for a few final tunings, before they began.
Following some welcoming remarks and applause, the duo opened their set with a wonderful rendition of “Parapet” – the opening track to their debut album. Unlike the version that is featured on “Mind Palace Music” and includes a piano introduction, @ turned to a cello to commence their performance. As the introduction played, the pair accompanied their bandmate with what is arguably their greatest strength, their voices. Not only do their instrumentals elicit emotions, but the same can be said for their sublime harmonies – a persistent element of their show that was able to flourish in the small confines of The Crofters Rights.
From the beginning, @ had seemingly cast a spell on the South West crowd. There was a dazed feel about the audience who had been utterly entranced by this folk experience. Between songs, they would change and tune instruments whilst conversing with the crowd – they were warm, and impossible not to like. Guitar tuned and voice ready, Stone began to play “Where’d You Put Me”, once again sending the crowd into their hypnotic state.
Moving from song to song, @ played the likes of “Letters” and “Boxwood Lane”. Colourful harmonies, folk guitar, and of course, the unforgettable cello instilled a special feel within the intimate venue. Following these songs, the group played “Major Blue Empty” – a personal highlight. This track fed into their seventies-inspired sound, with a rhythm that felt reminiscent of The Animals. It felt like a three-minute crescendo, that peaked with the voices of both Rose and Filipczak joining forces once again to create something special.
The fifty-minute set never once lost the longing gazes of the audience who – understandably – could not get enough. The duo responded to these desires in the form of “Camera Phone”, the longest track on @’s debut album. Beginning with gentle, solemn strums that got progressively louder, this song felt like a journey. Filipczak’s vocals filled the room, and were soon to be accompanied in another spellbinding harmony with Rose. As the song evolved, the pair’s talented bandmates grew into the track with their respective instruments, the cello and the melodica.
So far, the set had been magical – a voyage of longing, etherealism, and musical emotion. However, there was one noticeable attendee near the front who persistently whispered “I hope they play Star Game” to their friends, I for one was on their side. In the fashion that they had entered, @’s touring bandmates exited through the crowd, leaving just the two musical masterminds on stage. Filipczak approached his guitar one last time for the night and chimed the opening chords to “Star Game”. There was a certain line in this song that felt like a summation of the concert that the audience had witnessed: “Now, let us be forgotten.” After the many longing harmonies and raw instrumentals, this felt like a transferral of longing from the band to the audience, who were left with the desire for more. For now though, I shall have to wait with my memories and the colourfully pink t-shirt that I picked up after the show.
Role - I am a passionate writer with an interest for reviewing concerts and music.
Available For - Gig reviews and artist interviews.
Qualification - Currently I am studying BSc in Politics and International Relations at the University of Bath.
First Concert - The first concert I ever attended was Coldplay at the Royal Albert Hall (2014). It was to promote the release of their ‘Ghost Stories’ album. I will never forget the call my dad gave me to say he had managed to get two tickets for the both of us. The whole experience was just pure joy. The relative intimacy (for Coldplay) of the Royal Albert Hall, will always make that night one of the best (if not the best) concerts I have ever attended.
Dream Concert - In all honesty this is too difficult to answer with just one concert. If I were to select a few artists that I would love to see, it would have to be: Hope Sandoval, feeble little horse, Greg Foat, Kurt Vile, Lucy Dacus (specifically playing ‘No Burden’ in its entirety), Jadu Heart and The Moldy Peaches.
There is also the difficulty of dream gigs that are not able to be done. These would be: Mahalia Jackson, Etta James, Ann Peebles, Karen Dalton, Leon Russell, Mojave 3, The Smiths, and George Harrison (“All Things Must Pass” just from start to finish).
