Drummer, Fin Abbo, takes on a drum solo towards the end of the set and concludes the argument the band have made throughout their performance. They’ve got the energy of a band on the conveyer belt up the music rankings. It doesn’t take long for them to win the crowd over. A band so completely absorbed by their own music that they become visually part of it is captivating. Lead singer Angus Rogers contorts his gangly limbs on stage, covered in dirt, while both brass players dance and spar around stage-right.
Opus Kink’s glorious Fat-White-come-Nick-Cave sleazy, yet groovy grandiosity saxophone and trumpet bringing heat to their chaos.
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Opus Kink and Crack Cloud conclude the evening in the Alcove. Not to mention the importance of their message – it’s refreshing to have post-punk music from another perspective. Róisín’s bored vocals, the noisy, abrasive guitar, and biting bass lines are a fearsome cocktail. Róisín is unafraid of getting friendly with the crowd, trying to stir what is largely a sparse audience – though I can’t imagine that’ll be the case for long. Their only male member, Sean, stands with his back to the audience for the whole set. Their attempt to ruffle the post-punk authority’s feathers is summed up by singer Róisín Nic Ghearailt holding aloft one of their tote-bags with ‘Ghost a Post-Punk Boy Today’ emblazoned on it. They’re a mostly all-female group and they emphasise that they’re operating in a genre where that sort of thing is unusual. The percussion sits minimally behind everything – think Jesus and Mary Chain and early Velvet Underground. With shrieking guitar noise and two bass guitars, their sound is stark. The Alcove stage holds much of the afternoon’s more threatening sounds.
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They’re a band whose live performances are full and fun. There’s plenty of comedy there and silly grooves.
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They’re a tight band and they know how to stir up an audience. They’ve got a Devo irritability about them, the guitar work on Heyshaw for instance has that strange anxiousness of Too Much Paranoias. ‘Merch drop’ shouts Albert Haddenham as he launches taped-up T-shirts into the crowd during a breakdown. KEG work remarkably well in a festival-setting. Since building a name for themselves with instant-hits and radio-play, their chaotic live shows have perpetuated themselves across the UK. The set ends sweetly as the band take a photo with their packed out audience.īrighton-based new-wavers KEG make the Sunrise Arena their own in the afternoon. It’s bright and ferocious power pop at its best.
There’s a clear reason why people are here the songs are class acts in songwriting – tracks like Beehive stand out and they bring an energy to match. There’s a crowd to match at least.įor 1:30pm on a festival Friday, the tent is packed out. To a degree, as one of the closest, largest festivals, it’s a homecoming for them. They bring a special, warming energy to their set. Local East-Anglian three-piece rock-trio Gaffa Tape Sandy are one of the first acts to play Latitude 2022 and they’re obviously brimming with talent.
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