Live Review

Joyce – WA1 Bar, Warrington

3rd Feb 2008

Immediately as local rippers Z-List Tears, step onto stage smiles appear all-round. Now famed in this town for their live oomph as well as amiable stage presence, it is their enthusiasm for what they do that helps give the rumbling Metallica instrumental robustness and sturdy Queen Of The Stone Age edge, some drive, force and rhythm early doors. Already the gregarious singer, Bungle demonstrates a deeper ruggedness to his vocals and he has clearly been experimenting with his range. He needs this extra touch in order to communicate the punchy lyrics over the bass lines of Al Blackmore that are strong and sturdy enough to hold the weight of 200 cattle.

‘Model Behaviour’ grabs the attention of a wandering Friday night crowd with its grunge revival slant and the versatile vocals lean towards those of Eddie Vedder and the accompaniment spews Rage Against The Machine spirited rock solid grit. As though to say if you want a mellower anthem try this; ‘Oceansize’ adopts a lingering epic feel reminiscent of a ‘Hello Pig’ era Levellers. It’s certainly a growing range Z-List Tears demonstrates tonight. They are moving almost into veteran category in this town having been on the scene for what seems like an eternity, but their enthusiasm and passion never wanes.

Technical problems that has people checking their phones to see if they have accidently dialled a wrong number and put their phone on loudspeaker, blights the efforts of Cedar Falls to settle into their harmony producing, The Stereophonics mirroring set. A The Libertines veined intro shakes a disinterested seat hogging crowd into an attentive state in ‘Car Crash’. Then the Liverpudlian trio settle into a middle of the road indie groove.

Keiron Coyne pulls of the tough task of singing while playing bass with great aplomb. A tempo change in the form of the gruff and downtrodden ‘Ballad of a Broken Heart’, means that frivolous chit-chat starts to increase in prominence. However, this is by no means a bad thing, it adds a perspective to the subject matter about being ignored and lends a neat ambient touch. It might be something for them to bear in mind when they get around to recording it?

A dual keyboard approach immediately raises the intrigue levels and singer/keyboardist, James does the same through catchy, feel-good pop pearl ‘Baa Baa’. Straight away his snappy, clear vocals and ebullient manner draws the crowd into hand-clapping and cheeky “Baa Baas” of their own, bringing life and enthusiasm to the fore. A theatrical soul edge to James’ vocals and the rustling percussion of John, the key instrumental controller throughout ‘Bridge’, starts embellish Joyce’s show.

‘School Boy Error’, bears out an acoustic proficiency that is getting more and more important these days, with an increasing number bands getting in touch with their acoustic side. Especially as the toning down of their instrumental flamboyancy allows Joyce to expand vocally and the tri vocal attack gives their indie/electro/pop moulding gun another bullet. That and their ability to involve everyone present in the live show which oozes warmth and achieves a feel good factor should be enough to draw label interest. It worked for Mika didn’t it?