It’s been a long time since I last saw Water Machine, with, pardon the pun, a lot of water passing under the bridge in everyone’s lives in the interim. It’s been all going the last couple of weeks though, with Water Machine playing a gig recently in Stereo, releasing a highly danceable new jangle-pop indie single Tiffany and announcing their debut album release (and accompanying gig) in June. Having unfortunately missed the Stereo gig due to a clash, tonight’s single launch gig was one not to be missed.
Before I got to witness the Water Machine live spectacle again, it was down to Count Florida to open proceedings followed by a band I’ve been excited to see for some time but the stars had not aligned up until now, comfort, whose 2023 album What’s Bad Enough was a triumph.
Count Florida’s advertised stage time came and went, I’ll wager to allow the icey cold basement venue (it’s not often I can say that) to fill up a bit. I say a bit, but when I arrived there was literally no one else downstairs. I have to say it was their loss, and I mean by that anyone who weren’t here in time for them. But their tunes must have had a lure like that of the pied piper as the numbers swelled as the set went on. I’d never seen the band before and was bewitched by their laid back indie vibe which felt like a glorious mix of all that is great and good about the Scottish underground scene… from The Vaselines to The Pastels and beyond.
The mellow vibes created by the openers just lulled the crowd into a false sense of security as comfort blew that apart within seconds of their opening song. comfort is a clever paradox of a name as the bands songs are both rebellious and joyous, packed with positivity but also uncompromisingly defiant, pushing the envelope which, quite rightly, should have many feeling somewhat discomfited, challenging their beliefs and maybe taking an opportunity to reconsider their biases, unconscious or otherwise. Anyway from the off, siblings Natalie and Sean played an utterly entrancing set, with the unique computer driven synth throb backed up by live funky drummer/jazz drum beats and topped off by Natalie’s enthralling vocal, I urge you to jump on any opportunity you might have to witness them.
From a great supporting line up to the sublime charms of the headliners, and my first time witnessing the band in their revamped line-up. It feels like a lifetime ago since the last time I bathed in the full auricular glory of Water Machine. We all know dehydration is not good for the body or the mind, and this gig came with fortuitous timing… what better way to rehydrate my putrefying soul, which has been ravaged by the vagaries of life over recent months by diving head first back into the purifying nature of the music of Water Machine, in full knowledge of the edifying nature of their enchanting and alluring tales. Before long the equilibrium was returning. To be fair just watching Hando revel in what they do, and the infectious nature of their laugh was enough, but add to that the joy that exudes from the music and the pieces all fall into place. Hearing those familiar songs after some time brought a huge smile to my face, and it felt like that metaphorical weight lifting as the band, or clouds parting as the band kicked off a celebratory set with the uplifting opening couplet of Clouds and River.
The set included all the Water Machine favourites, from their eponymous first single and is later Part II follow in. through to that shimmy inducing new single Tiffany, and taking in the riotous Hot Real Estate they kick started my love of the band, and call to action of I Quit. Just hours earlier the gig could have been in jeopardy as Flore was still in Paris on the morning of the gig, fortunately disaster was averted though, and the uplifting spirit of the night extended into the double headed encore of (It’s Hard to be) Hando and Blisters, before an impromptu chorus of Happy Birthday from the floor in celebration of Hando’s birthday.
Roll on the next Water Machine gig, you can never have enough water.
