The intimate surrounds of Coventry Tin’s Coal Vaults play the humble host for tonight’s show.
Brooklyn duo, Opal Onyx open the evening with an atmospheric set of their alternate music. Considering this group consists of two; Sarah Nowicki and Matthew Robinson, this pair do produce one mighty sound.
Sarah’s stunning vocals alongside Matthew’s experimental cello, with the aid of an MPC and Sarah on electric guitar mesmerise the crowd. The duo’s debut is out in June on Tin’s very own label; Tin Angle Records, and is one worth looking out for.
Official tour supports Eyes And No Eyes follow. It’s always refreshing to hear bands who choose to defy genre lines and this eclectic four piece confront psychedelia with loose folky relations. It’s an explosive sound with a medley of pedals and distortion. There’s a psychedelic cello, an energy-fuelled drummer, a smokin’ bassist and an exceptionally talented lead on vocals and guitar. Eyes And No Eyes’ self-titled debut came out in March. I urge you to go have a listen.
On to the main act and opener And Always Is, sees Peggy Sue unleash an explosive sound, a sound where Rosa Rex and Katy Klaw stand side by side on electric guitars. There’s also Mariner’s Children’s lead Ben Rubinstein on bass and Olly Joyce holds it all together with his powerful drumming.
Katy and Rosa’s vocals are a match made in heaven, soulful harmonies and heartfelt lyrics make the backbone of Peggy Sue’s music. No clearer is this then in a captivating performance of How Heavy The Quiet That Grew In Your Mouth And Mine, where the duo’s vocals alone delight the crowd.
The Longest Day Of The Year Blues; “a song about getting dumped and waitressing”, and Two Shots, a love song “about having tonsillitis” echo the group’s eloquently crafted post-folk murmurs heard in their fourth and most recent release, Choir Of Echoes.
Tonight Peggy Sue radiate a ripened confidence in their execution, resonated in striking versions of old favourites, Watchman and Yo Mama. Choir Of Echoes was released earlier this year, and this ‘post-folk phenomenon’ is not one to be missed.
Words: Saima Razzaq