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A trio of support acts began with The Rocky Nest, an inoffensive folk-pop band from East Yorkshire, whose twee performance incorporated a chirpy brass section, cartoon drawings being held up to accompany some lyrics, audience hand-claps and the dedication of one song to ‘anybody who likes arts and crafts’. Their songs were samey, but at best resembled Belle & Sebastian.
Pete Roe, a singer-songwriter from Bristol, followed with a short set of tender folk songs. Only originally scheduled as support for the earlier part of the tour, he was simply playing in York for fun. His acoustic guitar technique was excellent, and his merchandise understandably sold out immediately after he finished playing.
By contrast, Peggy Sue were raw and energetic. Their vocal mannerisms and use of a box as a drum screamed of Regina Spektor aspirations, but combined with their strong two-part vocals they were fun and well-received. Their cover of Missy Elliott’s ‘All N My Grill’ and ‘Matilda’, a song about the morning-after pill, stood out.
Destined to be publicised with emphasis given to their successful friends, Mumford & Sons will face a challenge to break free from the shackles of their much-hyped social circle. However, their hour-long set surpassed expectations, flying by, the band playing every track from their first two EPs and a number of previously unheard songs.
Mumford & Sons’ live show is not without eccentricity. The only percussion is provided by frontman Marcus ‘Mumford’ Johnstone using foot pedals to hit a bass drum and tambourine, and Country Winston’s performance on the banjo is oddly memorable, his position at the back of the stage not detracting from his unselfconscious and show-stealing technique.
At their best, their music variously includes a mellow country-folk style reminiscent of Micah P Hinson (notably on ‘Liar’), 4-part vocal harmonies in the style of Fleet Foxes (the outstanding ‘Little Lion Man’) and a lively bluegrass influence (closing number ‘Roll Away Your Stone’). On stage, the band switched effortlessly between serene stillness throughout quieter passages and energetic foot-stomping at the more raucous moments.
The relationship between the crowd and performers in the Basement Bar remained friendly all night, and Pete Roe’s return to the stage, to entertain the audience near the end of Mumford & Sons’ set, guaranteed everyone leaving with smiles on their faces.
Mumford & Sons’ third EP is due out in April.
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