Upstairs at The Globe, gig-goers relax on the balcony in a bright Summer eve, whilst sound-checks are completed. On first, Alright Lover (Craig Pollard) starts on his knees, mildly neurotic, building prerecorded phrases with his sampler. These carefully constructed sounds underlie songs sung with fragility and angst.
You may have enjoyed Kieran Rafferty live before, with his impeccable voice of saxophone melodies and bright chordal tensions from his Fender. Tonight, our next act’s sound is expanded, as certain technologies divide the notes he plays on his Jaguar as part bass-simulation, part traditional electric guitar tones. Drum loops complete orchestration, and these new songs grip the room.
The only guarantee of Yeah You live is knowing you will be surprised, and that is a fantastic guarantee.The sonic organisms created tonight, from a square table of toys, are less volatile than many of their previous pieces. One light creature was born when a keyboard demonstration was accidentally triggered and then eaten up into their style of improvisation.
Due to the rhythmic energy of preceding acts, Hapsburg Braganza’s exquisite soundscape painting brought the feelings in the room safely to land for the night. Phil Begg started his set with a minute of eclectic snipped spoken quotations before embarking on a rich collage centrepiece of ambient sounds.