A long and vibrant queue snakes round the (what still feels recently reopened) Bristol Beacon, draped in Brazil shirts and sprinkled with glitter. The fan base is unmistakably Declan McKenna’s and the pre-show excitement is palpable. One couple, with an admittedly evident disparity in girlfriend to boyfriend Declan die-hard-dom informed me they’d been in line since midday to ensure optimal standing positions. An unnecessary precaution but a testament to the seismic pull the indie-songster holds these days.
The crowd were warmed up by former Dead Pretties frontman Jacob Slater’s relatively new and hugely acclaimed new project Wunderhorse as they belted out 6 brilliant new tunes from their upcoming second album. It didn’t feel as though the fanbases entirely aligned but the raw power and emotion of Slater’s vocal and the grungy, guitar sounds seemed to have even the most light-hearted, wide-eyed fans on side.
The stage design dwarfed the band as they played in front of what looked like a depiction of jagged Antarctic icebergs, but contrary to the frosty imagery the band took no time to warm up. McKenna opened the set with 70’s sensation, ‘Sympathy.’ With Harrison-esque slide guitar and a stage full of musicians to fill out the sound, the audience was in the palm of his hand from the very first note, other than the father of the family sat next to me who seemed far more concerned with the Champions League scores.
The 21-song set was packed with hits new and old, but predominantly was comprised of Declan’s latest release ‘What Happened to The Beach?’ But the atmosphere couldn’t have been further from a classic ‘Do your old stuff’ situation. Songs like ‘Nothing Works’ and ‘I Write the News’ garnered responses as visceral and impassioned as ‘Isombard’ ad ‘Why Do You Feel So Down?’ Such is the quality of the latest release.
The onstage energy was fantastic and begged the question, just what is Declan McKenna’s tour step count. He never ceased to move, impishly gliding around the stage; it’s the stark contrast between the potent, candid lyricism of songs like ‘British Bomb’s’ and ‘Wobble’ that generate such a powerful fan, artist connection and maintain a level of McKenna mystique.
Lastly, would it be right to review a Declan McKenna gig and not mention Brazil?
I don’t think so.
Were people on shoulders?
Yes.
Did I see someone cry?
Four.
Were phones out?
A few too many.
But none of that detracted from the unbridled ‘togetherness’ that song generates, a British indie anthem to rival any other from an artist who is currently at the peak of his powers.
Great show.
Hello! I'm Leo, and my role here is currently 'gig/album reviewer.'
I’m in my last year studying Film and Television at University of Bristol, but when I’m not buried in books (which is worryingly often) or glued to the screen, I’m listening to tunes, attending gigs, and somewhat predictably playing in my undoubtedly mediocre but wonderfully invested student band.
I’m available for reviews of any sort: live events, albums, personal analysis, as well as interviews or even just attending a gig if you've got a spare ticket.
My first ever gig was the Happy or ‘Appy Mondays when I was 15 at the Roundhouse in Camden with my best mate at the time, and it was genuinely incredible. I just remember the crowd feeling like a sea of ecstasy—whether that was medically induced or not was beside the point to me. The whole room was just palpably happy, and as someone who has eternally rued the absence of a modern-day Hacienda, it felt like the closest I’d get. Oh, and Bez gave me a signed maraca!!
Ridiculously cool.
The first gig I reviewed was Nick Mulvey a couple of years back. I never knew I’d get into the reviewing or journalism game, but as an aspiring scriptwriter and music fanatic, it made a lot of sense, and I absolutely love it.
