10th May | SWX
If you’re going to play one hometown show in a calendar year, you really ought to go large. You might say that it’s easy for a band with so many band members (nine) to make a big noise, but head to a local softplay centre and tell me then whether quantity of people guarantees quality of sound (if you don’t get lobbed out/arrested for going to a softplay centre without a small child). If you’re going to play a venue like SWX on the day that your new album comes out, you want to be shaking that space with tracks that are weapons-grade explosive. As they released Metropolis, Cut Capers also released endorphins, freed inhibitions and looped ska-jazz grenades into the swelling melée below.
Their Metropolis clearly met with the character of our metropolis, encapsulating the party spirit which many a Bristol crowd embodies. Eloy Sinser was the principal choreographer of band and crowd. Therein lie two of the biggest joys of Cut Capers: firstly, their undiluted joy, but secondly the fact that it takes little or no coordination to dance to them makes dancing to their music the most democratic of activities. If you have an ounce of bounce, whether you’re in a highchair or a wheelchair, whether you’re going for pogo or slo-mo (or anything other than a bit of shoulder frugging is a no-go), you can get stuck in.
It’s not all hyperactive lunacy. Jane Thomas’ vocals are velveteen, all depth and texture. You get much more than a sugar rush from the ear candy that she contributes to the potency of the band’s sound. From tracks like ‘Elephant’ and ‘Feet Off The Ground’, it’s fair to assume that the new album will further the reputation that they have built thus far. Covering Blackstreet’s ‘No Diggity’ confirmed their party-starting status. We liked the way they worked it.
See Kristina Kimlickova’s photoset for more evidence of the night’s revellry.
See the video for ‘I Know’ here: