Police-siren-lighting flashed aggressively to create the
dystopian feel depicted throughout their debut record. Adorning the now iconic
black face paint, Tom Haywood was at his usual best, preaching his poignant
messages defiantly, bassist Charlie McGough playing with swagger, his basslines
the platform that allows Haywood to act as puppet master. It was a brilliant
set, yet a set I’ve seen before. It was disappointing not to hear newer cuts
like the acoustic ‘Ballad of Winston Smith’, the trio staying safe with older
hits like ‘Swine’. Elsewhere, the public-service-announcement-esque, ‘Free The
Slave’, felt a little rushed. A superb show, but one that left me feeling
rather underwhelmed.
dystopian feel depicted throughout their debut record. Adorning the now iconic
black face paint, Tom Haywood was at his usual best, preaching his poignant
messages defiantly, bassist Charlie McGough playing with swagger, his basslines
the platform that allows Haywood to act as puppet master. It was a brilliant
set, yet a set I’ve seen before. It was disappointing not to hear newer cuts
like the acoustic ‘Ballad of Winston Smith’, the trio staying safe with older
hits like ‘Swine’. Elsewhere, the public-service-announcement-esque, ‘Free The
Slave’, felt a little rushed. A superb show, but one that left me feeling
rather underwhelmed.
