Only two bands ever played more Peel sessions than The Nightingales and now they're at The Canalhouse promoting their new album.
Imagine a band with the 80s Matchbox b-line disaster basslines and a Human League drum machine and synth part, played via computer. Go on, imagine it. Why are you still reading, you haven’t imagined it yet. That’s better. This is Putamen and they are worried about the sound, “how’s it sound out there? All good? That makes me very happy. I’m in s different dimension, I’m in the twilight zone.” The live parts are a bit post punk while the computer parts are your big ‘80s sound and there is the occasional bit of Scary Monsters & Supercreeps era Bowie thrown in for good measure. Despite the technical issues, it’s a good start to the night.
Next up are New Apostles who have organised the whole evening. They are another band from Nottingham, another band with a laptop. Is there a drummer shortage in the city? Did Menelaus and Agamemnon eat them all? They’ve got a good sense of humour, announcing, “we’ve got some merch at the back. If you don’t buy it we’ll end up living in a skip.” The highlight of a fun set is Bowie’s Camper Van, which has a great Frank Sidebottom sound and is introduced with the question, “why have a saxophone when you have saxophone on a Casio keyboard?”
Terry from Near Jazz Experience has some advice, “don’t try this at home” before he plays two saxophones at once, showing up that Casio keyboard sound and then some. There is a good amount of funkiness for three middle aged white guys - some of these songs could be soundtracking blaxploitation flicks. Terry goes on to play the sax and shake a maraca at the same time - proving that men CAN multitask before getting out his tiny trumpet for Afloat. There’s also a track that sounds like a Madness b-side, quite apt as Mark Bedford, the bassist in NJE is also the bassist for the nutty boys. They give out shakers to the audience so that we can play along for the last few songs, which include a cover of Voodoo Child, but they make sure that they get them back at the end - a microcosm of their show; good, sensible fun.
The Nightingales come on stage with an apology, “we’re a bit late. Sorry if you’re trying to get the train back to Leicester.” There’s a certain twinkle that implies it’s not a totally honest apology. Then frontman Robert Lloyd had a go at someone for being on their phone (yes, it was yours truly making the notes for this review and forgetting the first rule of journalism school - don’t become the story) It was quite funny watching an old man rail against technology though - like Canute without the self-awareness. Musically they are still really good though and not even a terrible sound man can distract from the energy and vitality. They don’t mess around with anything as prosaic as breaks between their songs or those cheesy encores. Much like with their contemporaries The Fall, it feels like the slightly shambolic nature of the night has fed into the excitement of the performance.
The Nightingales' new album Perish The Thought is available now
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