(Review by Jess Kemp)
WELLY + COWZ + GOODBYE – THE CON CLUB, LEWES 26.9.24
The Constitutional Club Lewes, known as ‘The Lewes Con Club’ is a community (mainly-volunteer) run, not for profit live entertainment venue and social club. Found on the high street in the centre of the County Town Lewes. The bar and performance area offer the ideal mid-sized entertainment space. The venue has been hosting a wide variety of live music acts on a par with any of the Brighton venues for over a decade now. Acts who have played the venue include Personal Trainer, Jah Wobble, Spear of Destiny, Shonen Knife and soon to come The Monochrome Set. Not your usual exclusory membership venue, the Lewes Con Club opens its doors to all.
‘Goodbye’, are the first support band of the night. They are a five-piece who feature two multi-instrumentalists and only made their live debut at Brighton’s Rossi Bar a mere 12 days ago (Review HERE) and this evening is their second live show, but you would not have known it from the talent on stage.
One of the band’s two guitarists, Alfie Beer, took the lead with interaction saying, “There’s a joke about the weather and the band’s name, but I’m not gonna make it.” Tone set, the band went straight into their first song, ‘MEAT’. The track introduced the rich and ethereal vocals from Megan Wheeler. Wheeler’s soft, husky, and soaring ethereal voice is perfect. It would be an asset to any lineup. It is always a joy to find new talent. But the real magic happened when bandmate Sarah Ryan joined Wheeler. The two vocalists’ different tones created sweet harmonies. A slight dissonance gave them an edge. For the first few tracks, Ryan played the keys, then alternated between keys, guitar, backing, and lead vocals.
The second track, ‘Stoic Friend’, referenced The Sundays in tone, but with a grittier quality. This time, Wheeler’s soaring vocals oscillated. Alfie Beer joined her on backing vocals, while Ryan joined them shortly after. I am not sure Beer’s vocals gel as well with Wheeler’s as Ryan’s do. I hope to see them live again soon to form a better opinion.
Beer took the vocal lead near the end of the track. This combination, with the girls on backing vocals worked better. The track has a very ’90s summer haze feel and a sense of nostalgia with a slightly modern edge. Beer took the opportunity to thank the audience and the headliner. “Thank you for coming down early. This is our second-ever gig. Thank you very much to Welly for inviting us. We’d go anywhere for Welly; we love them.” The venue was comfortably full but not overcrowded. Some in the audience had come specifically to see Goodbye following buzz from their debut performance.
‘Benji’s Collar’ began with a much heavier sound. It then mellowed into the lead vocal. A mix of the tone from the first two songs, it cherry-picked the best parts from both. The composition alternated between soft and heavy. It showed what the band can do. The backing harmonies of both singers melded with the lead vocal. They created layered tones that built to a crescendo.
Beer took over the lead vocal duties for ‘The Boy’. Beer’s vocals at the start had a tang of Morrissey. They then calmed into a series of non-lexical vocables. They melded with Wheeler’s harmonies, adding a dreamlike haze. Ryan’s keyboard work added to it.
The set ended with ‘Tolgus Wartha’. Wheeler addressed the audience, “This is the last track. Thank you so much for having us; it’s been a real treat.” As the title suggests, this last song descended into semi-prog-rock territory. The extended instrumental intro almost took over before Wheeler’s vocals kicked in and the tempo increased. The instruments grew heavier before the vocals took over again. As the track continued, it switched back and forth, drummer Elik Eddy coming into his own holding the track together as it meandered.
The set was an impressive introduction to the band. Each musician has been in other bands before. They bring this experience, skill, and their impeccable stagecraft to Goodbye. I look forward to seeing the band develop further as a live act and hone a more definitive sound.
Goodbye:
Megan Wheeler – vocals
Sarah Ryan – guitar, synth, vocals
Alfie Beer – guitar, vocals
Jake Smith – bass
Elik Eddy – drums
Goodbye setlist:
‘MEAT’ (unreleased)
‘Stoic Friend’ (unreleased)
‘Benji’s Collar’ (unreleased)
‘The Boy’ (unreleased)
‘Take Time’ (unreleased)
‘Tolgus Wartha’ (unreleased)
The second support of the night came from the ever-popular Brighton duo COWZ. COWZ took the stage at 21:10 sharp. They steamed into their first track, ‘The Most Fun I’ve Had In Ages,’ instead of introducing themselves. The duo was back on form after a bout of illness that made them miss their spot at FemRock.
Always chatty with the audience and each other, the duo introduced themselves. Tasha Bloom took the lead, “Hello, we’re COWZ with a Zee.” Her partner in crime and in music Saga Wahlström followed up with a short anecdote, “Hi, Lewes! I love your town! It’s so cute! I brought my Swedish mum here, and she said, ‘This is nice.” (A huge compliment from a Swedish mother).
Bloom took over again to introduce the next song, “This next song is about gossip”. ‘Elephant’ showed that the duo can adapt their routines to any stage, expanding or reducing their act as needed. “This next song is about boys.” ‘Ur No Rockstar’, is a fun critique of masculine bravado. Confident in themselves and their material, the duo owned the venue. Their exuberant smiles and bouncy dances showed their joy in performing, which cannot fail to win an audience over.
Taking the lead again Wahlström introduced the next song, “This song is about how much we respect millionaires”. ‘Domination’ is one of COWZ’s catchiest tracks, but it was only then I realised exactly how clever and catchy this track is. The duo are deft songwriters and composers. Though I had only seen them once, I could recall the song’s titles and most lyrics for the full set. I defy you not to sing along to one or more of their songs upon hearing them.
Wahlström introduced the next track “This next song is about Twilight.” On paper, ‘Rosalie’ should not work. However as with most of their tracks the chorus is infectious. The pure, unabashed fandom of Wallström’s intro, also imbued into the lyrics is hard to ignore. Another near perfect song, it is worthy of the ‘Twilight’ soundtracks. The duo’s delivery sells the song to the audience. Even the most die-hard hater will rethink their stance on the franchise.
Speaking first again Wahlström said, “The next song is about not liking people.” Bloom reconfirmed “The next song is indeed about not liking people”, adding “I don’t really like you!” looking at Wahlström who smiled. So goes the band’s introduction to ‘La La Like You.” It is a song that is what it says on the tin, doubling as a cathartic release for those who may have broken ties with a former friend or colleague.
“We only have two songs left, guys”. Bloom said to the audience with a hangdog expression, before continuing, “You can find us on We Are COWZ, spelt ‘w e a r e c o w z. This song is about being crazy.” Here Wahlström interjected, “We have all been a little bit crazy, especially you.” While smiling at Bloom who offered a wry,“Thank you”. Before continuing, “We have merch, CDs, and badges for sale. Or you can illegally download the songs or play them on Spotify”.
The crowd may have been slightly smaller. But they clearly enjoyed the duo; it is impossible not to. Their last track, ‘Psychos,’ is their second catchiest after ‘Domination’. It should resonate with the audience, at least on some level. Its genius lies in its twist of assumed meaning. Rather than commiserating with the protagonist, the duo is, in fact, placing blame on them.
I cannot recommend an evening with COWZ enough. Beneath their bubblegum pop-punk presentation and delivery is some deft songwriting and composition. It will hook you, even if they are ‘not usually your kind of thing’.
COWZ:
Tasha Bloom – vocals
Saga Wahlström – vocals
COWZ setlist:
‘Most Fun I’ve Had In Ages’ (from 2024 ‘That’s Cute Baby’/’Rosalie’ EPs)
‘Elephant’ (unreleased)
‘Rock Star’ (unreleased)
‘Domination’ (from 2024 ‘That’s Cute Baby’/’Rosalie’ EPs)
‘Rosalie’ (from 2024 ‘That’s Cute Baby’/’Rosalie’ EPs)
‘La La Like You’ (unreleased)
‘Ur Favourite Song’ (unreleased)
‘Psychos’ (from 2024 ‘That’s Cute Baby’/’Rosalie’ EPs)
The night was the last leg of the headliners ‘National Service tour,’ Welly had already played Brighton earlier in the month as a special ‘Fresher’s Night’ gig at Concorde 2. This evening it was non-students mixed in with the more university-aged punters throughout the Lewes Con Club, in order to catch some of the infectious, jubilant fun always on offer when Welly hit the stage.Lights down, Franz Ferdinand playing out in the background, the more youthful making up the first five rows of the audience. It was old school gig rules with the taller and older standing to the side or the rear of the venue. Visibly excited, the burgeoning crowd moved towards the stage in anticipation of the fevered joy found at a Welly gig.
As the band ran out to take up position, the lead, Welly himself, introduced his bandmates with his trademark enthusiasm. From the very second they took the stage, the energy was amped. ‘Cul-de-Sac’, was a great introduction of what to expect from the set. Employing a favoured use of gang vocals from the rest of the band to underscore Welly’s lead vocal, the song also has a composition, which is pure early Brit-pop and a fevered repetition of the title of the track as the hook of the song of “Cul-de-sac…” All critical components that feature in most of the band’s tracks.
Buoyed by the enthusiasm of the audience, Welly implored those to the rear of the venue to embrace the energy in the air, “You’ve so much life to live, people at the back with skin like mine, come to the front, have a dance! This next song is about a lawnmower.” The audience cheered at the opening bars of ‘Deere John’ like a long-lost friend. With a great pun of a title, the song is an ode to marital strife and lawnmowers. Welly decided to ham up the intro, which mimics starting a lawnmower. Lampooning the thoroughly staged ‘impromptu’ start.
Welly showed precisely what makes him a perfect lead singer. Displaying a wry sense of humour and self-awareness blended with an innate understanding of all that makes British culture. The band marries this with the knowledge of how much an English audience loves to disparage themselves, with the occasional catchy chant. The inclusion of a cowbell in this track does not hurt, either. The audience was well and whipped up by the end of only the second track.
“Who here has been on a gap year?” Welly questioned the audience. Riffing off on the sarcastic answers from the audience, he finally found one who has Australia. Welly cut to the crux of his question, “Anyway, If you have been on a gap year you will recognise this note..” the opening bars of ‘Soak Up The Culture’ mimic the opening of the Kaiser Chiefs’ ‘I Predict A Riot’ a song that plagues indie dancefloors worldwide.
As soon as the opening bars of ‘Shopping’ start, the audience sing it back word perfect. It’s a glorious ditty about the joys of the British high street and a misspent youth traversing it when there is nothing else to do. The chorus, again harking back to the band’s influences. The chorus, “We go out shopping!” echoed throughout the venue, not a single member of the audience could stop themselves from moving.
By now, the whole front joined in, keeping up with the band’s ability to pogo throughout their set. “You guys are amazing!” Welly intoned at the end of the song. “Thank you very much, you’re amazing too!” an audience member shouted. The love feeding from band to audience left the whole venue burst with exuberant joy.
Pausing briefly before introducing the next track, Welly said, “I recognise that most of you probably went to Uni in Brighton and possibly came from nice local towns and know what a canter is. If not, Joe can demonstrate.” With faux reluctance, Joe obliged, a nod to the possible horse riding (and monied) audience members. All of this was to introduce the track ‘Roundabout Racehorse’. The band pogoing more than the audience, feeding off pure adrenaline. As much as their lead, Welly is the primary focus; the performance involves the whole band who are engaging and active performers; this is no one-person show.
The cowbell is in action again, ‘Home For The Weekend’. Before the song could get into full tilt, Welly sends Hanna into the audience, telling her she can go “wherever she wants”, even the sound desk with her cowbell. Feigning an exit, she did so, joining the engineers. Jacob also decides this is an excellent opportunity to leave the stage briefly. The song itself is what it says is a homage to returning home for the weekend.
Somehow finding the energy to keep up humous engagement with the audience, Welly asks, “Anyone speak French?” responding with a few GCSE french basics. He asks, “What’s French for ‘Con Club’?” Incorrectly suggesting that ‘Con’ is short for ‘Conservative’, rather than ‘Constitutional’. Given the audience’s poor language skills, he continued, “Well, you’re gonna hate the next song; it’s about France, well, four nights in France.” ‘It’s Not Like This In France’. It is yet another well-observed narrative of the English experience across the channel.
In a similar fashion to bands like Home Counties, all of Welly’s tracks pay homage to bands that preceded them. Every track has a nod to Blur, Sleeper, Kaiser Chiefs, Pulp and Franz Ferdinand. Welly have distilled the last thirty-odd years of British art rock and indie hits in a way that both pays homage and pokes gentle fun. They distil all the best hooks, tricks, and stage antics, adding a clever modern twist with panache. This draws the audience in while giving a nod to every night out they might have had from the start of their first drink to the night’s performance. The audience is in on every joke and dig. They know Welly hit the nail on the head but does so without intended offence.
“We’ve come to the last song of the set. In the last three weeks, we’ve travelled the length and breadth of the country… and most of its crap. So, it’s great to come back here. Isn’t this a really great part of the country? Who here grew up in the suburbs?” Receiving positive affirmation from the audience, Welly continued, “Oh, Thank God! This one is about not the suburbs, but the suburbs of the mind, body and soul.” ‘Big In The Suburbs’. Welly then takes their leave stage, (as is traditional) disappearing backstage briefly before returning for the actual finale.
“Who’s ready for a pogo, then?! COME ON!” Thankfully, the front of the audience had been feeding off the band’s energy and obviously had bags of their own. The final song of the night, ‘Me And Your Mates’, a tale of misspent youth killing time with a group of friends, engaged the whole of the audience in revelry before the band finally did take their level to join the audience on the last No.28 back to Brighton—it was Thursday, after all.
Welly:
Elliot Hall aka Welly – vocals
Hanna Witkamp – keyboards, percussion
Joe Holden-Brown – guitar
Matt Gleeson – guitar
Jacob Whitear – bass
WELLY setlist:
‘Cul-de-Sac’ (from 2024 ‘Cul-de-Sac’ EP)
‘Deere John’ (from 2024 ‘Cul-de-Sac’ EP)
‘Soak Up The Culture’ (from 2024 ‘Cul-de-Sac’ EP)
‘Shopping’ (from 2024 ‘Cul-de-Sac’ EP)
‘The Roundabout Racehorse’ (unreleased)
‘Home For The Weekend’ (from 2023 ‘Home for the Weekend’ / ‘Me and Your Mates’ live single)
‘It’s Not Like This In France’ (unreleased)
‘Big In The Suburbs’ (unreleased)
(encore)
‘Me And Your Mates’ (a 2022 single & (from 2023 ‘Home for the Weekend’ / ‘Me and Your Mates’ live single)
