The last time I caught Death Valley Girls live was on a dreich and miserable Monday night in the self same venue, but with the stage where the bar is, and vice versa. Bonnie and the band were on top form back then with local duo Run Into the Night in tow. This time around they outshone themselves with a mind-bending stellar performance.
Before the headliners took to the stage though, they already had a lot to live up to after the performances from the two support bands for the evening.
First up it was the turn of fresh faced quintet Tanzana. I’d heard only good things about this band, and I’m pleased to say I wasn’t disappointed. Having played their debut gig in the self same venue less than a year ago, to their credit, the band have been honing their sound on the live circuit before they lay down the tracks for their debut EP in the studio. This treading of the boards has served them well, ensuring their own songs stand strong and proud alongside the covers in the set.
Their opening song built to a chiming guitar crammed crescendo thanks to the dual guitar assault from Sarah and Lily on lead and rhythm guitar respectively, elsewhere Wah Wah guitars featured strongly and with, in my mind the strongest of their own songs, Covet, featuring a sold rhythm section with Katie on bass and Karolina on drums and a thunderous riff reminiscent of Nirvana meets Stiltskin.
The covers (Portishead’s Glory Box and their set closer Jeff Buckley’s Grace) were taken on by the band without fear, and made their own, the intensely dramatic version of Grace in particular making it the perfect end to the set.
A special mention must go out to the bands vocalist, Freya, her voice an instrument in itself, ranging from sinewy and muscular, to powerfully soulful with a tremendous range, bringing an edge to the songs and falling somewhere between the likes of Alanis Morissette, Grace Slick and current music industry darling Raye. Watch this space…
Ginger Quiff favourites Junk Pups were next up on the venue’s basement stage and as I’ve come to expect from this outstanding quartet, the band absolutely owned Broadcast. The foursome exude a suave swagger, effortlessly cool with an effervescent nonchalant charm, confident but with not a shred of arrogance.
The rambunctious set was bookended by perennial Pups favourites, debut single Front Yard Flamingoes kicking things off in style and the extraordinary Miss Behave, showcasing Jack’s still, despite the number of times I’ve witnessed it, quite remarkable vocal style and range closing their set to a rapturous reception.
The more I see this band, the more I love them, their youthful exuberance, and their rollicking bluesy garage country punk. As well as sublime bass lines, bass player extraordinaire Dylan provided extra yelps and hollers throughout, while Ishi led the charge on lead guitar. The bands songs swing between the Jimmie Rodger’s on acid yodelling country of Don’t Piss on My Leg, through the tongue in cheek punked up tale of the bloke from Nazareth at the Multiplex in Jesus Wept, all the way to the sub-Crampsian Western rumble on the likes of Hoi Polloi and their most recent irrepressible single Trophy Wife. The last of those complete with machine gun drumming from the drum maestro at the back (and on the Broadcast stage it’s way back!) and unstoppable force that is Sophie. It’s hard not to be transfixed watching her play, with her arm flailing, head shaking, hair swirling intensely focussed style.
If it’s not too late, you need to grab your ticket now for the House Guest festival on 6th of April and get in on some Pups action.
After taking in some of the sites and sounds of the Dear Green Place during the day, and the city was even greener than normal given the date, LA’s Death Valley Girls took to the stage to sprinkle their mystic psych punk magic liberally upon a now suitable warmed up Glasgow crowd. The elicitation of a fervent response from the gathered crowd bolstered by Bonnie’s declaration of Glasgow being her favourite city, I’ve been to enough rodeos on my time to realise this is always a sure fire winner for bands to announce from a Glasgow stage, but at the same time, Ms Bloomgrden and Co. seemed to be genuinely having an absolute blast, her grin infectious as the good feeling exuded from the stage bringing everyone along with them.
To be fair, Bonnie’s unwavering backing of support bands is to be admired, how many other lead singers can be found front and centre taking in the bands sets. It was the same the last time I saw the band in this venue on that dreich Monday night, when against odds that seemed stacked against them on the night, the band played a blinder (review here) so as with Tanzana earlier, expectations for their set were high.
Once again, those expectations were matched, and exceeded, in bucketloads. Bonnie, alongside the inimitable Rikki Styx on drums, and joined by Heather Nation on guitar and Sarah Linton on bass, were here to bring the party. And bring the party they most certainly did. After all, what’s the point in coming all the way from L.A. and not making the most of it…
This tour falls a year after the release of their latest album, Islands in the Sky, and with a setlist culled from across their recording career, this was a highlight strewn set providing a smorgasbord of delectable treats from their dark mystic garage drone punk through to effervescent slices of hypnotic dayglo psychedelia.
They launched into hyperspace with the transfixing Hypnogogia, the musical equivalent of hallucinogens, and once we were under the spell the band was weaving, there was no going back, off exploring the Islands in the Sky as the quartet continued to unleash their mysterious and majestic magic, before taking us back to Darkness Rains days and the Iggy Pop endorsed Disaster (Is What We’re After).
And so the mind-bending, mind-expanding trip continued, Bonnie clearly enjoying herself, a grin constantly on her face as she played coyly with the rest of the band, interacted with the gathered throng, seamlessly switching from synths to guitar and traversed the whole of the strangely shaped, awkwardly pillared Broadcast stage and beyond. It wouldn’t be a DVG show without a Bloomgarden wander into the crowd, with or without guitar, picking out punters to bounce off of and continue to build the band/audience bond.
Songs like Disco, More Dead and DVG Boogie were particular highlights but to be fair, this was a strong highlight packed set that had us all doing what the aforementioned song suggested, we boogied as the band threw themselves into wringing everything out of every last note out of every last song in their encore-not-encore. If anything, the band did what every good band should do, when they left the stage you felt satiated knowing you’ve had a great night but no matter, you somehow still wanted more.
Only a couple of dates left in the UK, if you get a chance to go, grab it with both hands.