Excitement looms over Bristol this evening. Mallory Knox received their second top 20 album last week, and tonight, they’re debuting some of their hotly discussed tracks for the first time on date number one of the Wired tour.
To begin the evening, they’ve brought along Fatherson, a Scottish three-piece with an enveloping quaint folk-rock sound. Their sound is crisp, with a faultless performance that’s been perfected to a T and though filled with powerful melodies that nicely boast singer, Ross Leighton’s, voice, the setlist they’ve compiled is especially energetic and demonstrative of what they are all about.
Meanwhile, Lonely the Brave, deliver a particularly varied performance, keeping the audience on their toes. Mellow with distinctive vocal techniques placed against more instrumentally-focussed songs is a subtle juxtaposition that still recognisably shows off their skill and creativity. What they lack in stage ‘banter’ (not that it is necessarily needed), they make up for in a lively and refreshing set.
The ringing sound of a plugged in guitar underneath an introductory is the first indication that Mallory Knox are about to come on stage. The second is the largely illuminated, almost blinding, but hard to resist, letter lights with (in case you couldn’t guess), the initials MK. The last, to passersby, are the piercing screams from adoring fans because they’ve just caught a glimpse of somebody’s instrument. This introduction to Giving It Up continues for around a minute until the five members victoriously walk onto stage, prepared to please and share what their proud faces are trying to say.
Album title track, Wired, follows but, despite being new, feels familiar. Perhaps it’s the frequent radio play or the fact that the crowd are faithfully singing the words as thought it’s a classic. This stays constant too. Getaway’s introduction is hauntingly loud and bouncing off the venues walls, and fan-favourite Lighthouse, is barely audible underneath the enthusiasm.
Singer, Mikey Chapman’s voice simultaneously has a certain gruffness and clarity that results in such a distinct and mesmerising vocal performance throughout. It’s particularly prominent in an unexpectedly nostalgic sounding California and the undeniably epic Lucky Me. Not only is singing alone worth noting, but his ability to seamlessly go from casual stage chat with fan that initiates an acapella version of Oceans, to an empowering speech about religion before Saviour, is a part that not a lot of people can play.
After the hour and fifteen minutes of music, their facial expressions have never been so clear. They’re proud of the release of Wired, they’re proud of their growth as band, they’re proud of their performance and they’re proud of the journey they’ve gone through, the trials and tribulations they’ve overcome, to get to where they are right now, and to have a dedicated fan base that happily supports their every move.