The creative talent that Cornwall breeds is paramount, and this fact was proven firmly by the enthused concert executed on Friday night at the Princess Pavilion and the three Cornish bands who shook the stage with their combined endowments.
Opening the event were The Interceptors, a quirky indie-band who played with a mischievously endearing manner. The trio performed with the energy of a group who are yet to experience the soul-crushing disheartenment that the music industry can cause; but this only made for a gratifying experience.
Unfortunately though the atmosphere during their set was somewhat tainted by the fact that an unfilled Princess Pavillion event has the ability to make you feel like you’re at a teenage school dance. However, watching the boys cavort the stage and unaffectedly enjoy themselves was a refreshing phenomenon to behold. With a bit of growth and less nativity I can imagine The Interceptors going far with their music career.
Next up were Auction for the Promise Club, a group who embrace a special place in my heart and undoubtedly stole the show that evening. The gifted trio are by no means new to the music scene, yet still play with that fresh and infectious dynamism that causes you to question everything you thought you once knew about quality live music.
Zoe White Chambers’ haunting vocals were on fine-form during the set, and did their customary trick of piercing through your skin with their seamless clarity. Similarly, the instrumental side of the performance was completely immaculate, with Toby White Chambers demonstrating his title as one of the most superlative drummers that I’ve ever had the good fortune to witness. Their performance was an enlightening highlight of the evening.
Headlining the event were Brother & Bones, a rock group with a unique yet forlornly artificial resonance. This sound can be described as an ethereal and much denser unification of Ben Howard and Pearl Jam. Highlights of their set included an emotive performance of Raining Stone and the group’s newest single Omaha, both of which sounded more intense live than they ever could on record.
Admittedly the band’s audience participation and stage-presence may have been negligible, yet the group initially had a proficient way of luring you into their web of aptitude. It’s just a terrible shame that the web unravelled half way through the set and left me feeling jaded at the realisation that their songs all sound dreadfully analogous.
Musically however, the five-piece band are a whirlwind of versatility, with the thunderous echoes of the drums often creating an otherworldly atmosphere. Friday night was no exception to this rule and nothing other than acclamation can be given to the instrumental fragment of the display. They’re clearly a group who rehearse until they collapse.
The band were certainly well-received by their fervent audience too, and although their blindingly polished sound may not be to everyone’s taste, there’s no doubt that the majority of those gathered in the small venue had anything other than the time of their lives – excluding the group’s bassist who wore the face of a man residing on death row.
All in all, Brother & Bones had the ingredients to create a memorable gig, but got their measurements slightly wrong along the way. I, for one, was left feeling somewhat disappointed by their performance.
Words by Keira Trethowan
Photos by Craig Taylor-Broad