Blossoms
2016 has truly been the year of Blossoms. After landing a spot on the BBC’s seminal ‘Sound Of’ poll, support slots with The Stone Roses and Kasabian followed, as well as a number one spot with their self-titled debut album over the summer. Making their long awaited return to Norwich after a show that hinted greatness at the Arts Centre last year, the Stockport bunch proved that the endless hype surrounding their name is well deserved indeed.
It’s a sell out show, but on this muggy Tuesday evening it takes a little warming up from some new faces to get the juices flowing. Late addition The Shimmer Band open the double support bill. They’re instantly likeable, with booming psych-pop numbers that sit somewhere comfy between Temples and Take That. Tom Newman fronts, a picture of pure rock and roll-ness as he swaggers about in an iridescent rain mac and big, round sunglasses. Freedom stands out as their best track, all wavering guitar effects and a huge Britpop-y chorus. Next, deadpan downbeats Cabbage bring the mess. Each tune is brash and chaotic, but lyrically refined so as to bash Corbyn haters (Terrorist Synthesizer), crazy US politicians (Wrong America) and more. But the fan favourite – from the group’s ‘Le Chou’ EP – is the bass heavy Dinner Lady, in which guitarist Joe reminisces days working in a school kitchen and getting a little bit friendly with the headmaster’s quiche. It’s mindless fun, and the perfect energizer for our headliners. Catch them at The Mash Tun next month with Bad Breeding and Peach Club, for Norwich Sound & Vision.
Through thick, white smoke and soundtracked by Kanye West’s Black Skinhead, Blossoms take their positions on stage. As if a switch is flicked, the unmistakeable churn of At Most A Kiss’ infectious melody blasts a ripple of energy into the room. The audience is split neatly between cool kids hot on the tail of an equally fresh-faced band, and the older folks, Radio 6 devotees and original fans of the 80s and 90s acts Blossoms draw such a big influence from. But pure enjoyment is the unifying factor here, as is a respectful ‘each to their own’ attitude seemingly assumed by those stood by the sides, and those who promptly open up a rowdy mosh pit to the woozy melodies of Cut Me and I’ll Bleed.
Heading up the quintet, Tom Ogden is the perfect example of a frontman. He’s confident and charming, raising applause for each of his band mates and cracking jokes between songs, and delivering magnificent vocal performances during. He introduces Smashed Pianos and Getaway, cuts from the group’s self titled debut which couple with a hypnotic lighting display for a more subdued but artistic part of the set. He takes to an acoustic guitar for Blown Rose, and a spirited sing-along that lasts for My Favourite Room. It’s the group’s token acoustic number, tonight dedicated to a heartbroken girl in the front row whose ex may or may not be in attendance – “I can’t be mean if he might be here!”, Ogden jokes. “Maybe if he wasn’t…”
The encore gives the room what they want, with a perfect balance of old and new material. From the album, Texia and Deep Grass boom out all glossy and sublime, and led by keyboardist Myles Kellock, Across The Moor twinkles like nobody’s business. But of course finally it’s time for the one we all want to hear. Destined to go down as an iconic opening lyric, “Hello hello, who put love in my head?”, Ogden croons, leading an impassioned final dance to Charlemagne before Blossoms disappear with as much grace as with which they entered. Make no mistake, this isn’t a band riding a tsunami of hype underserved; get used to it, Blossoms are great and they’re here to stay.
