 | | The Subways (photo: Ged Camera) |
The only time he bothers to introduce a song he does, which is final number Oh Yeah, there is more than a hint in his voice that he's glad it is. Perhaps he has just realised that's it's the next single, but that would be cynical of anyone to think that. As the last chords echo around the small venue, he stomps off in a manner that even seems to catch bassist Charlotte Cooper and his brother, drummer Josh, off guard. Yet it's a mere 20 minutes since the set started. A one song encore is begrudgingly given as Lunn again storms off stage pointing backwards into the audience and muttering his annoyance to the stage crew. Cooper doesn't know whether or not to take her beer with her, poor lass!
 | | The Subways (photo: Ged Camera) |
Perhaps he believes that the not quite capacity crowd should by now be familiar with their back catalogue after the intense gigging they have been involved with and such niceties as intros are not necessary. Well, the crowd aren't, and apart from the two at the feet of Lunn who seem to be undergoing their own epileptic fits, some nod their head appreciatively, but most legs remain rooted to the spot. And when the crowd roar for more, it's more to do with a feeling that their entrance fee deserves more in terms of quantity. Yet the rawness and undoubted ability flickers brightly thoughout, albeit all too briefly, while the finale is allowed to overshadow many positive aspects. Lunn and Cooper charge about the stage menacingly, facing off against each other. Cooper herself is a bounding bundle of energy, perfect eye fodder in her short skirt for the indie lads, that make up a crowd that is evenly split between the sexes. Almost overlooked on drums, Josh provides the support for Billy to discharge the chords, and Cooper to rifle her bass. And then they were gone. Must be a good film on tonight... |
