Right slap bang in the middle of a weekend of music, eager fans queued early to see Albuquerquean rockers The Shins headline a night supported by indie stalwarts Grandaddy and local up-and-comers Honeyblood.
Shaun Keaveny and Mark Riley had hosting duties, adding a wry sense of occasion to proceedings. But aside from the standard introductory tropes that preceded every set – “Now please welcome the most amazing band you’ll ever hear…” – Keaveny and Riley’s input on the night was minimal.
First in line for one such introduction was Glasgow band Honeyblood and they almost stole the crown for band of the night, too. So perhaps the intros weren’t so wry after all. In a set loaded with wave after wave of joyously lo-fi pop-punk, singer Stina and drummer Cat Myers had the stage presence to back up their billing at the festival.
‘Justine, Misery Queen’ energised early proceedings whilst ‘Love is a Disease’ and ‘Babes Never Die’ bookended a set rich in driving beats. ‘All Dragged Up’ and ‘Super Rat’ also proved standouts – full of grinding, fuzzy angst. They’ll be on tour throughout April and May and they’re well worth the ticket price.
Where Honeyblood’s songs aimed to knock out, Grandaddy’s career spanning set felt much low-key. Jason Lytle didn’t have much to say in between songs. Later admitting signs backstage were reminding him not to use ‘cuss words’, he felt it better not to speak.
‘Hewlett’s Daughter’, from the band’s 2000 sophomore record, was an unassuming start which built to a scuzzier crescendo. From old to new, ‘Way We Won’t’, from the band’s latest album, pitched a catchy keyboard hook to a nodding and quietly appreciative crowd but the atmosphere felt oddly flat.
‘Disconnecty’ was a mid-set highlight, its sonic pulses and keyboard effects washing over. But in a set that felt like it dragged in parts it was ‘AM 180’s’ splashy and instantly gets-stuck-in-your-brain melody-line which felt like their biggest success of the night.
By the time The Shins entered the stage to The Hollies ‘After the Fox’ the roar of approval greeting them enveloped the venue like a massive hug. Jangling opener ‘Kissing the Lipless’ came with intermittent whoops from the crowd and swelled into a much needed injection of energy.
‘So Now What’ from the 2014 Zach Braff film ‘Wish I Was Here’ followed quickly and raised goose bumps. Which was surprising considering the fact that I wouldn’t have labelled myself a Shins fan when I entered the venue earlier in the evening. But by the time James Mercer was belting out the opening lines to ‘Simple Song’ – a mere three songs into a packed set – I was sold on the band and regretting the fact I hadn’t paid attention to them earlier on in their career.
The slower songs felt weighty too – ‘Gone for Good’ playing like a sprawling country-tinged bruiser complete with sombre lyrics. By mid-set the energy was back in the room. ‘Phantom Limb’ saw the crowd sing back ‘whoas’ to an appreciative Mercer but even the ‘whoas’ were traded in for full-on arm waving from pockets of the crowd during ‘Caring is Creepy’.
It was, to say the least, a joyous end to a night of mixed fortunes. But just as Honeyblood had entered with a bang, The Shins ensured the night ended with fireworks, too.