The Beat Surrender

It was with great trepidation that I ventured to this gig. Until a couple of weeks before, I hadn’t heard of either of the headline bands that were playing. Perhaps this is as a result of my sheltered existence, as a closer look at their websites shows that they both have major record deals with Columbia and Atlantic Records, respectively. Either that or the record companies’ marketing department should get a stern telling off, as they’re obviously not doing their job properly.

I wasn’t too worried, however, by the fact their names hadn’t entered my psyche yet. Performing at The Cluny was enough of a seal of approval. The venue has built up a reputation in the North-East for being one of the top, if not the best, venues to see good quality live music; and whilst the acts that play there night in, night out aren’t in the upper echelons of music aristocracy, this is no bad thing, as it means you can often discover an rough diamond in the midst of dull rock (no pun intended), which creates an entirely personal experience.

The venue was packed to the rafters, for this one though, so obviously my lack of knowledge about the bands was indeed because of my sheltered existence. First up were GoodBooks, who arrived promptly on stage at their due time, for a change, which was a fair reflection of how their set persevered.

From the outset, GoodBooks were punctual, and very tight as a unit. It’s always enjoyable to see live acts that are actually good musicians, and not only that, but also have a chemistry and rapport with each other, as GoodBooks obviously did. I don’t think I noticed a note out of place for the entire set, which I would imagine is the product of a vast touring schedule.

Opening track, ‘The Curse of Saul’ was a promising platform, the current vogue of cutting guitar riffs merged with a tinge of funk and jazz. It was original, and created an eclectic sound when entwined with Max Cooke’s smooth and touching vocals, which sounded not to dissimilar to Joel Pott of Athlete fame. It was a fine demonstration of sharp cutting edge offset with a smooth dulcet tone.

The set continued with ‘Turn it Back’, the new single; a strange number, again utilising a funk guitar riff, which I felt clashed a little, and was perhaps a little incoherent. Nevertheless, where lesser bands would have failed, GoodBooks just about managed to pull it off.

The highlight of the set was undoubtedly ‘Start/Stop’, which was dedicated to one of the members of Aqua (?!) who was apparently in attendance – not that I saw them. It showed GoodBooks in fine form – stripped back to the bare basics, Cooke and Christopher Porter, provided a haunting dynamic of harmonies until finally bringing the song down to a crashing crescendo.

GoodBooks proved to be pretty enjoyable, all told. One could typecast them as anther indie band on the wagon, but they did have a definite edge and originality about them with their sparks of funk and electronica, which likened them to the likes of the Futureheads. Whilst a lot of the songs seemed to merge into one, the quality of the band as a unit should seem them through – it certainly did on the night.

Following GoodBooks were the night’s highlight, Fields. On the crest of a wave following dates a Reading and Leeds Festivals, Fields provided an atmospheric, intense insight into a world of introspective delight. Crashing guitars, complemented with a folk aesthetic, created a natural, living and breathing behemoth that was quite an experience to listen to.

The music channelled through the narrow and dark spaces, swirling around the heads of fans completely aghast, and was then brought crashing down in a crescendo and epic drums, keyboards and intense guitar riffs. And The Cluny was a perfect avenue through which Fields could stamp their authority on the ill-prepared masses. The close walls, low ceiling and a packed, pensive crowd, ensured that not a note was left unheard, and no beat was lost, creating an atmosphere of heightened intensity.

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