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The phenomenon of being a ‘buzz’ band can likely have its roots traced to Beatlemania, and then gradually the UK press turned that into a well-tuned science of the build-‘em-up and tear-‘em-down approach that Melody Maker, Sounds (both defunct) and NME so skillfully employed. Fast forward to the 15 seconds of fame cycle that the internet and its culture have accelerated, and now being labeled as such is about on par with the Sports Illustrated jinx
Hailing from North Wales, The Joy Formidable has been hard at work over the last couple of years playing venue after venue in the UK and Europe, honing not only their songwriting but also pointedly, their live attack. Their profile is certainly rising at a logarithmic rate, but to merely call them a buzz band is a grave disservice, and from all accounts that I’ve personally seen and heard, this band has staying power and will only grow into an even more fearsome outfit.
This would be the third time that the trio of Ritzy Bryan (guitar, vocals), Rhydian Dafydd (bass, backing vocals) and Matt Thomas (drums) would grace a Boston stage, and the room was mostly jammed, a very good turnout for a Tuesday night. Sometimes labeled as a shoegaze band, that particular brand is as mis-placed as it was when attached to Swervedriver, as they have no qualms about rocking out in extreme manner, and leaning hard into the song and audience throughout, giving a physicality to the performance that your average Creation band circa 1991 never dreamt of.
A sure sign of the road seasoning this band’s acquired was the pacing of the set. Sure, probably most people who were familiar with them knew of the torrential rain of sound and feedback, detuned guitars and effects pedals abused beyond normal limits that the set closer “Whirring” would involve, but the opening selection of the first three (“The Everchanging Spectrum Of A Lie,” “Magnifying Glass” and original 7” release “Austere”) were beyond reproach, a buildup of energy that gradually climbed to great heights, shaking the building and winning the crowd over easily. Bryan looks like a demure librarian, until she rears back, stomps on any one of the dozen pedals in front of her, rips into some ungodly guitar noise, and stares at you, smiling all the while as she knows those tones are doing unnatural and awe-inspiring things to your central nervous system.
If you’ve only got three people in your band, the rhythm section better be not hiding in the shadows, and Daffyd and Thomas are among the best at anchoring a sound that’s simultaneously chaotic and controlled. Though their particular style is much different, I would say they are on par with the likes of MacNeilly and Sims (The Jesus Lizard) or Preston and Crover (Melvins) with the precise devastation that they are capable of inflicting.
This is a band whose upside is high enough that you’ll need an altimeter to accurately gauge it; don’t miss the chance to see them in a small club while you can.
MONA played before The Joy Formidable, and brought a relaxed, rockabilly/roots-flecked sound that belied their Tennessee roots. If you caught the light right, and squinted hard enough, singer/guitarist Nick Brown was eerily reminiscent of a young Joe Strummer. Opener The Lonely Forest traded brashness for manners and played a clean-cut version of indie rock, 21st century style. They don’t quite have the same song quality that someone like, say, Real Estate does, but perhaps they are on their way to getting there.
more photos of all bands:
The Joy Formidable
MONA
The Lonely Forest
