Get In Her Ears Live @ The Victoria w/ Jemma Freeman and the Cosmic Something, 14.10.22

Following September’s gig at The Shacklewell Arms with the driving ethereal soundscapes of Gemma Cullingford, our October installment of GIHE live saw us return to The Victoria in Dalston for what felt like a super special night filled with the best music, best people and best vibes. Massive thanks to Jemma Freeman and the Cosmic Something, KIN and Trouble Wanted, and to everyone who came down to pack out the venue and helped make it a night to remember.

Here, Mandy Bang writes a few words about the night to accompany Jon Mo’s fantastic pics…

It’s Friday night and The Victoria is packed – a glass smashes on the dancefloor and is carefully kicked aside by revellers determined to have a good time. Tonight’s opening band conjure a murky dive bar on the wrong side of the tracks: the saloon doors unexpectedly swing open, everyone turns to look up at the new arrivals, jaws drop, gasps are audible… there’s a new stranger in town – Trouble Wanted.

The London-based five-piece have just one song available on their Bandcamp page, but, when it’s the “sexy, queer exchange between Lonely Cowgirl and a mysterious dyke trucker”, it’s one hell of a special treat. Live, Trouble Wanted blend menacing basslines, dreamy guitar touches, dancing drums, sexy synths and the occasional burst of alluring saxophone with semi-spoken vocals. Lucy sings of unrequited lust and dysfunctional mother/child relationships and pistol-whips songs with loaded humour. By the end of their set they have encouraged the whole room to shake off their inhibitions as we all sing “I want you in my bed” with wild abandon!

Tonight is Ritu Arya’s last gig with KIN, who played their second ever show for GIHE back in 2019. The band dedicate the drummer’s favourite song to her and later in their set proceed to initiate their first crowd sing-along during a cover of Wheatus’ ‘Teenage Dirtbag’.

The release of the trio’s new single, ‘Soapdish’, coincides with tonight’s gig and is a melancholy ramble through a relationship that is better to be left behind, as singer/keyboardist Grace asserts, “I’m not going to change my mind”. In amongst KIN’s atmospheric indie pop, there are sparse guitar echoes which momentarily bring to mind unexpected eerie Bauhaus vibes. Meanwhile, their 2020 single, ‘L.O.V.E.’, possesses the kind of upbeat energy that demands to drive us to sunny days spent dancing on a beach somewhere far out of reach.

Our final act of the night is Jemma Freeman and The Cosmic Something and Jemma’s party look this evening is demonic jester with a touch of Jaz Coleman of Killing Joke fame. The trio put on a frantic display of musicianship with psychedelic and garage rock leanings, skipping from one catchy song into the next which throws the audience into an array of shapes.

“I don’t know what I’m supposed to know”, declares Jemma before shredding so enthusiastically a guitar string breaks. Jemma conducts the quickest string change ever carried out by a musician mid-set, whilst the bassist and drummer keep an impressive backbeat flowing. One gets the impression that this rhythm section could quite happily lay down a two-hour instrumental jam as if performing at a ’70s music festival. Jemma, seemingly impressed by said bandmates’ calm professionalism, exclaims, “I don’t really need to be here“.

Jemma’s in-between song banter hints at a vulnerable front person with an awkward confidence. Lyrics are laced with self-deprecating humour and a composition from the band’s upcoming new album, ‘Miffed’, is a tale of a bad Tinder date that involved getting locked in a park – “Sounds exciting, but it’s not good”, they assure us before dedicating ‘Lump’ to “weird and petty gay people – like me!”.

Rather than the rallying ‘girls to the front’ mantra, Jemma encourages each audience member to look behind them and to move aside if those behind are struggling to see the band bathed in orange, green and blue lighting. I’ve only ever been at one other gig where the band has been this wonderfully thoughtful (namely Dream Wife) and Jemma half-jokes that it took ten years of therapy to ascertain: “I’m five-foot two-inches tall and I’m going to take up space and be unafraid“. A sentiment that gets a huge cheer from this crowd.

Big thanks to all three of the incredibly fantastic bands on Friday night! As for us, our next gig will be at the Sebright Arms next month with a lush line-up of Breakup Haircut, Piney Gir and BCOS RSNS on 17th November. Tickets can be nabbed over on Dice and we’ll see you down the front!

Words: Mandy Bang / @mandybang
Photos: Jon Mo / @jonmophotography

Track Of The Day: WOLFS – ‘Take Me On’

An antagonistic anthem fuelled by driving beats and grungy guitar riffs, London-based duo WOLFS have shared their latest single ‘Take Me On’. Inspired by the need to reject the frustrating misconceptions that others often project on to us, the track is a riotous call to arms, full of cathartic vocals and defiant lyrics, urging listeners to persevere in the face of adversity,

Formed of drummer Rhi, and guitarist and vocalist Hannah, WOLFS were initially a four piece who formed via the Gumtree website. Just a few days before the band were set to record their first EP however, two of the members left, so Rhi and Hannah continued as a two-piece and have been making music together ever since. Despite living over one hundred miles apart for the first few years, the pair somehow made the band work, and both eventually moved to London after cutting their teeth on the Oxford and Reading live music scenes.

This resilient beginning has clearly shaped the duo’s sound and tenacious attitude to songwriting, something which their current single ‘Take Me On’ is brimming with. “‘Take Me On’ is a song that channels the frustrations of sexism and the people who underestimate you, which I think everyone can relate to in some way,” the band explain. The track is accompanied by a monochrome video, filmed at Glasshouse Studios in Oxford, which shows the pair performing live in the studio.

Watch the video for ‘Take Me On’ below.

Follow WOLFS on bandcamp, Spotify, Twitter, Instagram & Facebook

Kate Crudgington
@KCBobCut

Track Of The Day: Alex Lahey – ‘Congratulations’

Congratulations’, the latest single from Australian artist Alex Lahey is an irresistible slice of grunge-fuelled indie rock about your exes moving on and settling down with someone else. With its swaggering guitars and soaring vocals, it’s an anthemic, fist-pumping three-minutes, building from bittersweet to completely bad-ass.

Lahey’s songwriting and musicality really shine here. Reminiscent of Pixies and the incredible Du Blonde, this is lo-fi guitar rock delivered with such power, polish and energy that Lahey could have the power of a whole band behind her. I’m talking proper stadium rock vibes, and it begs to be played loud!

Emerging from the vibrant Melbourne scene that also gave us Courtney Barnett, ‘Congratulations’ shows Lahey is a force to be reckoned with. Her last new music in 2021, ‘On My Way’, made it to the soundtrack of Netflix’s The Mitchells Vs The Machines (NB. parents and carers to small people will have watched this at least a dozen times…) and with more new music to come from her this year, Lahey’s potential seems limitless.

‘Congratulations’ is out now via Liberation Records.

Vic Conway
@thepicsofvic

Photo Credit: Pooneh Ghana

Track Of The Day: Rookes – ‘Consent’

Following the lavish storm of two critically acclaimed EPs, London artist Rookes gears up for their first full-length, POPNOTPOP, with a spunky first single, ‘Consent‘. 

Set for a November release, POPNOTPOP was self-produced while Rookes experienced the height of the London lockdown. However, this wasn’t all that the Tottenham artist was facing, and ‘Consent’ shines a light on just that. Laced in a sharp, alt-pop casing the captivating track swims through a pool of all the weighted revelations that come with processing a relationship breakdown. As the whirlpools of knowing begin to surface, Rookes showcases a musical maturity reminiscent of St Vincent to share their swirling story. 

With string-like synth pads, angelic background vocals and thumping drum beats, ‘Consent’ never lets up – keeping a catharitically strong energy for its entirety. As it builds in power with each section, Rookes pays off the past with each new dabble. By the track’s climax, layers of chorus and confident lyrics soar through sweeping, soulful vocals, feeling as though they have gone back and answered the call of “I have to turn the light on” from the track’s start. By the track’s anthemic finale, Rookes releases a euphoric, optimistic mix which can only be compared to turning on the lights after a power outage.

 Rookes’ ‘Consent’ is both the revelation and reward after an internal storm.

Jill Goyeau
@jillybxxn