By Monk
We all have ambitions in life. For musicians it is to hear what they compose and produce appreciated, indeed loved. To see their efforts rewarded in a tangible recompense for their commitment and passion. To stand up in front of a crowd, to declare “this is what I do” and for that crowd to reply by saying “thank you for doing it”. For that moment to be the point which they have strived to make it their own can only bring its most special of personal rewards. Tonight was one of those nights for a woman who has fought to find her voice in a wilderness and now is determined to make it heard loud and clear – and defiantly so!
Demonstrating the diversity of the Belfast scene, and how its protagonists support one another, the rather ignominious task of opening proceedings falls to the relatively innocuous singer/songwriter Nate Fairgrieve. With the spotlight on just him and his acoustic guitar, he delivers and efficient and proficient set which is well received by the small but suitably appreciative audience of early comers.
But, tonight is all about making loud noises and there have been few bands making a louder noise locally than Whiteabbey, who have grasped the virtually dormant (outside of Ravenlight) Norn Irish symphonic metal scene by the proverbials and given it a damn good shaking. Until recently just a studio project, the band are now taking baby steps into the live environment (this is only their third live show): their hesitancy in this regard has been partially due to the fact that three-quarters of the band are based in this little corner of the Uberverse, while one of their key ingredients, singer Tamara Bouwhuis, is Dutch. Another reason may have been previous associations: as pointed out in my review of their most recent ‘Words That Form The Key‘ album, band mastermind Steve Moore may perhaps be known to ÜR’s power metal fans as guitarist with Stormzone, with whom he was involved for the best part of the last two decades.
As the pounding war drums of the intro lead into the band’s anthemic titular opening track, I cannot help but make an immediate comparison with Stormzone, but that is for one reason and one reason alone; and that is the fact that the virtually lifelong dynamic and synergy between Moore and bassist/sparring partner Graham McNulty is clearly evident, the two smiling at each other across the stage, revelling in continuing to share the joy of performing together, revelling in that friendship and equality. The latter has also developed a similar synergy and empathy with drummer Badger Duncan, as they work together as a seamlessly intertwined unit, feeding off one another with natural ease.
Inevitably, there is a heavy use of backing tracks, something which can be restrictive in terms of having to adhere to strict timings, but this does nothing to detract or retract from the energy and passion of the unfolding performance, the highlight of which is undoubtedly to soaring vocals of Tamara, who is very much in the mien of the great European symphonic metal singers, with a massively powerful range and the capability, when she hits those upper registers, to make every fibre of your being tingle.
With a large proportion of the crowd enjoying a last minute smoke break or basking in the dying rays of the summer sunshine, our headliners take us a bit by surprise, launching straight from their line check into their opening number. Saffron, clad from head to foot in black leather, her arms outstretched to reflect the majesty of the bird from which her band takes its name, dominates the stage and the room with her powerful presence and even more powerful voice.
Right from the off, just as on the album which she is launching, it is immediately obvious that, after years of messing about with pop rock projects, this is the music she has been destined to make. Her voice is rich, mature and full of grit and dark, passionate, soulful intensity. She doesn’t need to give us a reason to fall in love with what she and the boys are doing, as we’ve already ‘Come On Over’ to their infectious vibe, which combines grizzled blues with grunge-inflected classic hard rock grooves and tonnes of “fuck you if you can’t handle me” attitude.
The band are more than capable of backing up Saffron’s defiant vocals. The veteran rhythm section of the two Davids – Jeffers on drums and Shields (yes, the former Stormzone guitarist) on bass – are tighter that rivets on a cruise liner’s hull while the “young buck” in the pack, Declan McDaid grinds, grunts and shreds the life out of his guitar with aplomb and panache, combining melody and harmony with searing solos and unbridled energy which in turn feeds into the overall performance.
Watch out for Saffron and her Black Eagles soaring high. There may be ones who want to paint her like a bitch, but she is defiantly declaring that she is not just one, but THE ONE with which to be reckoned.
- ‘Paint Me Like The Bitch I Am‘ is out now.
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