HEARTWORMS + WELLY + NIGHTBUS – GREEN DOOR STORE, BRIGHTON 22.3.23
There is a buzz about tonight’s show, which is the first night of the debut headline tour by Heartworms. This is certainly the hottest ticket in town for tonight, and perhaps even the country judging by the number of out of town photographers packing out the front row of the show.
There is already a pretty decent crowd when Nightbus take to the stage. The trio featuring Olive Rees on guitar and vocals, Zac Melrose on bass and Jake Cottier on guitar and samples look jaded. Later Olivia refers to food poisoning, and a six hour drive, which does rather explain this. Despite the obvious tiredness the songs do start to pull you in. ‘Just A Kid’ is a quiet start that builds in a glacial Cocteau Twins fashion.
‘New Shadow’ brings in the more Manchester vibes, with Zac in his long trenchcoat looking particularly like he is a long lost member of Joy Division. ‘Mezzanine’ era Massive Attack also springs to mind, with its combination of melody and dark menace.
Debut single ‘Way Past Three’ is particularly strong with its livelier rhythm and jangly guitar.
The set closes with new single ‘Mirrors’ (released 28th March) which brings a ‘Top Of The Pops’ moment to the show. Jake, who has worked a 30 hour shift prior to jumping in the van to head down from Manchester, accidentally triggers the recording of Olive’s vocals from the single as well as the drum track. The band are visibly confused, and at one point Olive stops singing, but we’re still hearing her voice.
Luckily they laugh, and plough on. Experiences like these ultimately make a performer stronger. Hopefully, if they keep up the songwriting they will reach a point where they can say ‘no thank you’ to the crazy shifts!
Nightbus setlist:
‘Just A Kid’
‘New Shadow’
‘False Prophet’
‘Belltower’
‘Way Past Three’
‘Exposed To Some Light’
‘Mirrors’
Next up is Welly. The band are missing two members tonight; their drummer and keyboard player. While the band set up Mr Welly, for that is also the frontman’s nickname, jokes about them being out of place on this otherwise gothic line up. Once Joe and Matt are ready with their guitars and Jacob is poised with his bass, the set misfires as something doesn’t work with the drum machine. The sound is also not helping them find their stride, as it seems particularly off for them at first.
It does not matter though. Making do is clearly something they are used to and this band knows how to rise above it and have fun. They could probably have played 10 tunes if Welly hadn’t talked so much between the songs, but then we wouldn’t have laughed quite as much, got to meet his Dad or listened to a discussions about where people like to go on holiday that ends with a strange call and response improvised chorus about going to Tenerife and meeting Omar Sharif.
While they might be a touch Brit Poppy and classic Steve Lamacq fodder for my personal taste their energy and charisma is infectious. Bass player Jacob is particularly enjoyable to watch and all of them are having fun. In fact so comfortable are they, despite missing half the band, that there is no pre-planned written down setlist. They make it up as they go along and chat to the crowd, which includes many fans, about what songs they want to hear, whilst teasing the audience for their aging 6 music demographic.
‘Shopping’ is particularly fun, as is ‘Crown And Out’, before the set closes with a riotous ‘Me And Your Mates’ taken from their debut single ‘Live At The Village Hall’.
Welly setlist:
‘Flowers’
‘Take 5’
‘Shopping’
‘Deere John’
‘Crown And Out’
‘Me And Your Mates’
A quick turnaround and the photography pack is suddenly swarming like sharks scenting blood in the water all desperate for that shot of the next big thing: Heartworms. Led by poet Jojo Orme, Heartworms are part of Dan Carey’s Speedy Wunderground family that has dominated the UK music scene lately; launching the careers of Black Country New Road, Black Midi, Honeyglaze and Squid amongst others as well as producing Kae Tempest, Slowthai and Warmduscher.
As Heartworms take to the stage, they have only released three songs, with their debut EP ‘A Comforting Notion’ hitting the shops two days later on Friday 24th.
Their set at The Great Escape last May was one of this writer’s highpoints of the 2022 festival. Leaving a disappointing set by the normally brilliant Sinead O’Brien marred by terrible sound, the entire crowd were stopped in their tracks by Jojo and her gang on the small silver Airstream caravan stage in the bright seaside sunshine.
The difference between tonight and their performance a year ago is astounding. This is a band unleashed that is getting supremely confident in its capabilities.
The glee in keyboardist Simon Reca’s face is unmistakable, while Elizabeth Walsh prowls with her bass over Gianluca De Giel’ excellent drumming, and Marko Andic’s snakey guitar.
The old look of second world war military uniforms, that has even sparked a collaboration with Airfix models is out. The new band memo clearly said “Full 80s goth”. Jojo, who seems to like wearing ridiculously heavy outfits that are far hot to perform in, arrives on stage looking like a refugee from the Fields of the Nephilim, while Elizabeth is sporting a classic Bauhaus ‘Bela Lugosi’ tee.
There is however no goth aloofness here. The performance is now incredibly confident and unquestionably sexier, without at any point stepping away from the fact this is a bunch of extremely likeable creative people.
The set starts with ‘Constant Dedication’, a particular high point of The Great Escape set with crescendoing refrain of “Ugly is the man, He’ll chew his eye’s”, before the lingering menace of ‘A Comforting Notion’ takes over.
As the wall of sound builds and builds, Jojo suddenly cries “Oh Shit” and touches her heart. She clearly can’t believe what is happening and is loving every single second of it. ‘24 Hours’ starts with a strange keyboard sound reminiscent of the start of ‘Nightboat To Cairo’ before coming alive over a snappy drum pattern. Jojo announces they are going to take it down a bit with the 2020 single ‘What Can I Do’ with its sixties sounding ghostly harmonies.
At one point I realise I am having so much fun I have stopped taking notes; totally lost in the moment and carried away with this arresting musical force.
She then announces that they are going to play a cover, which has been requested by someone on YouTube. The beat starts and suddenly Marko is playing the unmistakable first notes of ‘Dominion’ by the Sisters of Mercy – watch HERE. As I signal my approval Jojo looks me in the eye grinning, clearly ecstatic that a member of the audience has recognised it so quickly.
This cover, whilst clearly essential from the perspective of extending the set, and filling the time, is so much more. Some covers serve to show how weak the band’s own material is. Some covers seem redundant and lacklustre amongst a set of strong material. This cover is however truly perfect. An unexpected classic song, brought back, played for pure pleasure and delight in a fantastic fashion, that gives clear notice that all the songs surrounding it, are every bit the equal of this classic.
The set then closes with a rousing ‘Retributions Of An Awful Life’ with Jojo unleashing her Theremin before grabbing her guitar and climbing onto the crowd to surf the waves of adoration reflecting back from the delighted Green Door Store crowd.
If the band manage a similar step change before the next time they return to Brighton, they will truly be a very special band. Frankly they already are.
Heartworms setlist:
‘Consistent Dedication’
‘A Comforting Notion’
‘24 Hours’
‘May I Comply’
‘Jacked’
‘What Can I Do’
‘Dominion’ (Sisters Of Mercy cover)
‘Retributions Of An Awful Life’
