A roadie’s night­mare!

Nottingham Post - - EG DAILY - By ISAAC ASHE

MARI­BOU State are a sound guy’s night­mare.

A techie hop­ing for an easy night set­ting up some drums, a bass, some gui­tars and a mic need not ap­ply – en­ter­ing the Res­cue Rooms it was im­pos­si­ble not to no­tice that it look­ing more like air traf­fic con­trol than a gig-ready stage.

There were banks of sam­plers, stacks upon stacks of key­boards, ar­rays of pedal boards all across the stage. The bas­sist’s area was coc­cooned in sam­plers, cow­bells, shak­ers and bon­gos. Even the drum­mer had an sur­prise bell hid­den un­der his stool which he whipped out at one point.

But credit to the band this was not for show.

No but­ton went un­pressed, no knob was left un­twid­dled in the band’s live de­but in Nottingham.

The mu­sic on the group’s sec­ond full-length LP, King­doms In Colour, is a change from their pre­vi­ous work.

They’ve stepped away from the chill­out room and headed straight to­wards the dance­floor.

But while this in some ways has made their sound sim­pler, their rich and tex­tured trade­mark style is as com­plex as ever.

Their sound ebbs and flows, songs segue into each other – and at one point we drifted into a slow­burn­ing multi-track in­stru­men­tal build from the early set salvo of Home and the Khru­ang­bin­sam­pling Feel Good.

But by con­trast the real crowd­pleas­ing high­lights of the set were still those mo­ments that felt like stand­alone songs – nor­mally when vo­cal­ist Holly Walker was warmly wel­comed to the stage: The Clown, from their first al­bum, and new track Ner­vous Tics both had the whole room mov­ing.

In fact, the big­gest com­pli­ment I can pay them is that they had a wall­flower like my­self danc­ing, sober, on a school night.

Per­haps the dance­floor is the best place for them to be.

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