The gradual change of the seasons in Britain is a special time as the now familiar Indian summer melts into the darker evenings and mild light of autumn. This time of year also brings an abundance of live shows, and, like the mammals in nature busily storing their larders, the music fan scurries between gigs contently and gratefully, for when the cold winter is upon us the memories of autumn’s music bounty remains, to warm the cockles and satisfy the soul.
The Phantom Band have not performed in Bristol or the South West for over 3 years but touring their critically acclaimed album ‘Strange Friend’ they are welcomed by The Exchange as is their support, ‘Gulp’.
In 2009 ‘Checkmate Savage’ announced the arrival of The Phantom Bands eclectic brand of conceptual DIY folk. They have since built a gradual but adoring fan base and a reputation as one of the country’s best live bands. The band’s leader and unmistakeable front man is Rick Redbeard. He returns to the Phantom fold following the release of his debut solo album last year. Redbeard is comfortable in both environments but one is convinced that he is at home when at the front of The Phantom Band where he can tweak and orchestrate each vital cog in the formulative and futuristic folk sound.
Gulp opened the show with an ear catching set of equally catchy tunes based on 60’s pop, playfully dissected by synthesized psychedelia reminiscent of Jefferson Aerplane with the jaunt of Camera Obscura. Drummer Stuart Kidd and the softly spoken lead Lindsey Levin are from North of the border but Gulp are based in Cardiff as they are essentially Super Fury Animals member, Guto Pryce’s outfit. The songs from their debut album Season Sun set the tone nicely.
A muggy late September evening made for prime conditions for, the soon to be hibernating hoards to go out and collect some culture. If only the air conditioning system was reading from the same script as the 6 men from Scotland took formation on a high, cramped platform.
The Phantom Band are instantly recognisable. Their thought full and measured concoction of pedal effects and keyboard samples underpin a unique style where Redbeard’s distinguishable dialect of his homeland ground them somewhat in an otherwise fantasy land sound. This show would be an excellent demonstration of their imaginative use of instruments, in particular those in the percussive sector.
Immediately evident is that for all of the bands intricacies they are a guitar band and in ‘Folk Song Oblivion’ the bellowing riff powers the song forward to its assured chorus. The Phantom Band take their time to build suspense in their songs. The introduction to ‘Burial Sounds’, sees each member take pride in their allocated extra tool, recognising its understated importance in the final result. The majority of the songs build, starting with isolated sounds gradually formulating tiers of synth and drums as the patient musical architecture unfolds on stage as it does so well on record.
Track 6 on ‘Strange Friend’ would have been an apt addition to the set list with the broken fan concealed by amps and Scottish bodies making The Exchange a literal ‘Sweatbox’ but the audience cared not a jot. The percussion lesson moved forward teaching us the new possibilities of what claves, scrapers, bells and beaters are capable of and any threat that Redbeard’s scowl may pose is diluted by the introduction of his ‘Melodia’. Part mouth organ, part Fisher Price vacuum cleaner, this item seems somewhat novelty but the effect is essential to the fusion of folk from the future, and on ‘Into The Corn’ it takes centre stage. The inevitable wooden clave beat gives way to the soothing waltz of the melodia as the song winds itself up into a herculean foot stomping finale.
As if the whiskered Redbeard required more elevation, he boldly clambered up onto a large amp on the flank only to lose his footing and be sent from whence he came. He sat unceremoniously around the ankles of his colleagues attempting to regain some humility and grace but the next 5 minutes are taken up by the band sniggering and teasing The Phantom Bands main man, the music played on regardless.
The new songs naturally mingle with those better known such as ‘Everybody Knows Its True’, ‘Mr Natural’ and ‘Left Hand Wave’ and when the encore came ‘The Howling’ was greeted with delight. The percussive tool box was still open but the resolute and electrifying guitars brought the preverbal curtain down on a master class of live song construction.
The autumn winds would soon blow in but when they curtail perhaps The Phantom Band will not leave it so long to visit next time.
Quiffed Owl 