The Fleece is officially my favourite Bristol venue, as it condenses such a variety of acts, especially underground and breakthrough. However, most of them end up becoming the Next Big Thing – just take a look at the “gig hall of fame” on the counter (Editors, Muse, Franz Ferdinand, Supergrass, The Dandy Warhols).
Last Sunday it was a bluesy night, and its protagonists were the Swedish mustachioed band Graveyard. The stoner-y blues a là Bad Seeds, the Leonard Cohen-esque dusty approach and the general wooziness created an explosive mixture, which blues lovers will simply get addicted to. To support them, the stoner-y Baron Greenback and the 60s blues-y rock and roll Spiders. I am not going to spend too many words on the first act, as my stoner metal knowledge is quite rusty; luckily for me, the 60s-infused acid blues rock is my area of expertise. Therefore, Spiders got me from the first riff. Female-fronted Swedish band, mixing hard rock and blues rock, electric riffs and boogie bass guitar – really hard to stay still during their set (see Weekend Nights). Ann-Sofie Hoyles’ stage presence reminds me of Grace Slick meeting Janis Joplin, after a couple of drinks with Sly Stone, jumping around, playing tambourine, harmonica and maracas (Hang Man). Alongside the female-fronted lot of Nitroville’s rock and roll and Kill for Eden’s pop-rocky melodies, this four-piece from Gothenburg had energy, vibe and a new album entitled Flash Point out now via Crusher Records. Write it down on your Christmas list.
The main act itself was dusty and rough, blending in the emotional tension of the Muddy Waters’ blues ballads, and the garage blues anger. Forget Black Keys’ radio-friendly tunes, here we are talking about screaming and tapping, a vortex of flaming electric riffs and a pinch of fuzz now and then. Starting from the anthem Hisingen Blues you feel trapped in this retro bubbles, which leads you to ZZ Top’s early crunchy rock with Goliath, Swedish bits in Buying Truth (Tack & Förlåt)and the heartbreaking Hendrix-like ballads Slow Motion Countdown and Uncomfortably Numb. It may be the atmosphere they created onstage, it may well be the alchemy between the group members, but all of a sudden I feel pushed back to the roots of blues, when slaves were singing on the edge of a river, tear-jerking stories about their life. After the trends of 80s synth, 90s delay and 2000s dreaminess, a bit of gritty blues was all I was asking for.