Groove and confusion in the Darkroom
As promised, the Dark Room is dark and little more than a single room. Bands play in what is less of a stage and more of an alcove in a somewhat peculiar but certainly fitting venue; edgy and alternative, just as the lineup and the crowd were on the night of Saturday the 17th.
Jed Parsons and friends opened to an audience of around ten people, with songs fit for an indie rock summer mixtape. The trio were delightfully entertaining.
From a casual ‘shot bol’, to a whistling solo, to a distant f-bomb when Parsons announced they were going to play something new, Parsons certainly didn’t take himself too seriously and the trio had fun. Their relaxed and genuine presence paired with their groove made for a very hopeful opening.
The night quickly became confusing, however, as the dark space filled with 80s fashions, unnecessary hats and black tee shirts.
Racing was a dramatic contrast to Parsons and friends. What started with a similar indie tone was interrupted by the typical shout-singing of classic rock, before turning into a baffling mish-mash of vocal styles -a Barry Gibb falsetto roared into Angus Young shouting, while a low, deep, sometimes Bono-ish sound flirted with an early Exponents vibe. Lead vocalist Ed Knowles was certainly rock-starbizarre with his admirably versatile range, sweaty, open-mouthed jumping, and abrupt disappearance at the end of the set.
I found the mash of vocal styles difficult to like, and was left confused, not given enough of a chance to like one sound before it became something else altogether. Even the crowd seemed to have trouble keeping up, not sure whether to head- bang, sway, nod, or jump - although they certainly gave it their best.
Racing’s produced sound is tame by comparison - to the point that they actually sounded like a completely different band.
Clap Clap Riot came as quite the relief after Racing, completing the circle back to the summery, chill, genuine, feel-good sort of vibe for the now-packed crowd that Jed Parsons hinted at earlier in the night.
The headline act was friendly and authentic, with a solid beat that effortlessly had the crowd moving, swaying, clapping, and singing along. This was their crowd, and Stephen Heard had them in the palm of his hand. The heartbeat thrum of Help Me and the staccato beat of Sweet Patricia would have left many a sore neck the following morning. Given the amount of nodding going on, approval was rife.
Clap Clap Riot completed the night with an energetic, youthful, and lively feeling, provoked by a warm and well-rounded sound that anyone can enjoy, even if their style primarily caters to the ever-hungry alternative and hipster audience.
Despite the tight squeeze and confusing middle act, the night was upbeat and entertaining, and a decidedly delightful introduction to some potential new favourites.
Be sure to keep an eye on both Clap Clap Riot and Jed Parsons for a killer summer soundtrack this year.