Lazy Day | Live Review & Photoset

10th March | Louisiana

Photos: Rowan Allen

Having just recently released new single ‘Weird Cool’ with Bristol mainstays Art Is Hard Records, London-based Lazy Day are particularly welcome tonight at The Louisiana for a bustling Saturday night show. Having just headlined a packed Moth Club in London the night before, Bristol prepared themselves to be once again rocked by a band who are seemingly on a pretty steady trajectory to something exciting.

No Violet open the night with their caustic and embracing sound. With the clarity of the sound tonight, the band are much heavier than on record, a noisier, thudding body giving them more emphasis and brashness. The set slightly dampens as it proceeds, and while they have a compelling weight to them, it stagnates slightly in the middle as the tracks blur between each other. Lead singer, Ellie has a distinctive voice, and tonight in particular it’s uncompromisingly lucid, yet it would be even better if there was more to latch onto within their lyrics. The trill of her voice becomes the main focal point of their set as she murmurs and screams in equal measure. Nevertheless, the group are forceful and impacting, and it’s an authoritative performance from them tonight.

Sound quality at The Louisiana is crystal clear tonight, and for Lazy Day that works an absolute treat. Whether they saunter through the slower, more tender moments where they can limit themselves down to a murmur, or the more vociferous actions where Tilly’s voice bellows with a throaty rasp, it’s a powerful combination. It allows them to really exert the emotional weight of their songs, and actually unveil a further sense of pop sensibility which perhaps is layered between hazy reverberation on their records. ‘Weird Cool’ is a fantastic example of this, the track insecure and overwrought in its theme, but dynamic and actually quite unbound when performed live; the arresting chorus is possibly their most driven moment yet. It exudes a multitude of emotions within a “pop” framework, and makes the band stand out amongst their contemporaries.

There is a nostalgic nature to their songs when performed live. There are more timid and ethereal moments, like in ‘Disappear,’ still lingering within their current output. ‘Hiccup’ is bathed in a tender-hearted and lovelorn pool of half-light, guitars welling up with resonating reverb as the bass bounces amongst lingering chords. Tilly, at this point, is utterly unconstrained, bellowing words as if exorcising something every time she sings the song.

There is a particular portion of the crowd who, sadly, interrupt a lot of their set with loud talking, in particular through Tilly’s quieter moments. It’s disappointing to witness; with the incentive of having a bought a ticket, you would have thought that would be enough for those talking to be respectful to the artists playing, remain quiet and engage with their set. Lazy Day shine throughout this regardless, only playing louder and with more positive animation as a liberating middle-finger to the de facto hecklers.

As far as the current crop of largely angsty bands go, Lazy Day stand a fair head and shoulders above in originality, emotional nature and also in melodic appeal.