Little Comets who originate from Newcastle came to Nottingham Rescue Rooms on the penultimate show of their UK tour to promote the new album Life Is Elsewhere. They were supported by Northern Ireland based General Fiasco, a band with masses of experience playing at festivals such as Leeds and Reading. The combination of these two made it a certainty that the calibre of the show was always going to be high.
When General Fiasco came on stage they strutted with a confidence easily recognisable from an experienced band. Unlike many support acts that come on only to find a shallow response, the crowd really seemed to be enjoying the Northern Irish musicians. Songs such as ‘Ever So Shy’ and ‘We Are The Foolish’ (their largest hits to date) were known to most, and they had warmed the crowd up well, ready for the main act.
The Nottingham audience was pumped up for the gig, and even before Little Comets came on chants were being heard within the Rescue Rooms. They start with ‘Bridge Burn’ off their Jennifer and Other Stories EP. A steady start, but the crowd were so excited to see them; masses of jumping fans could be seen in the front half. Moving straight on to ‘W-O-E’ from the new album it was like the band were building up the crowd, preparing them for their louder tracks. The final track before the powerful section of the set was ‘Violence Out Tonight’, the mellow beginning was the start of a crescendo into a rather more epic feel.
However when the more energetic tracks did arrive the band executed them with significant style ‘Waiting In The Shadows In The Dead Of Night’ is followed by ‘Adultery’ (a highlight of the show) and then ‘Joanna’. ‘Adultery’ is sharp, its staccato feel energises the room, crowd surfers become apparent even though immediately thrown out. Shortly after this energetic three, lead vocalist Rob Coles stops the crowd and tells them to calm down a little and respect those around. This gets cheers from the outskirts and anyone not in the central clique that seemed to have been formed. As well as this he turns to the security guards and asks them to respect the crowd a little more claiming “you can’t treat them like that”. Hasten to add it didn’t go down well with security however the crowd appreciated the sentiment and it shows another example of up and coming bands respecting their fans. They slow the set down again performing ‘Woman Woman’; a track that seems especially personal to the band. This change of pace was something the true fans really did appreciate because on the whole it silenced the audience, which is impressive after a select few had just been evacuated for crowd surfing.
The latter part of the set saw Little Comets play ‘Dancing Song’, ‘One Night In October’ and ‘In Blues Music We Trust’. Although on paper it would seem they had saved their best songs until last, the truth was in fact they had held the crowd in the palm of their hand throughout. When it came to ‘In Blues Music We Trust’ as the finale of the set a clearly intelligent set of musicians left with a message saying that encore’s should be spontaneous and unplanned and that throughout they were trying to play all the songs they possibly could. They hadn’t missed any out either, so it was true, why would they need an encore? However, it wasn’t just the ending talk they had with the crowd that accentuated their intelligence, lyrics in songs such as ‘Mathilda’ also portray this. “When all this commotion dies down, she’ll deliver a subtle soliloquy straight to his pillow” and I think this summed up the set, when the powerful and loud songs were replaced with the more mellow songs, it was easy to see the true fans. However, for those also there to appreciate good music well executed, Little Comets delivered.
…Daniel is listening to Stones by Valys…