Gig review of Deerhoof + Field Music + Quack Quack + Kit

Entering the Leeds Irish Centre for the first time (after finding it with surprising ease) it was refreshing to find a large audience already gathered and paying attention to the support bands. Kit opened up the bill with songs brimming with frantic drumming, pogo-ing bass and jangly, bleeping guitar. A band more concerned with energy than tunes, the set culminated in a cartoon hurricane of feedback and drums, and the energetic crowd interaction began proceedings with a positive vibe.

Quack Quack introduced themselves musically, with rotund rhythmic drumming building into organic, pulsing, big beat pop. The 3-piece produced a bouncy, energetic set, with strutting keyboard grooves and commandeering bass embodied by the multi-instrumentalist keyboard player's on-the-spot running and quirky moves. The absence of vocals made it a rewarding listen regardless of how much attention one paid, whether it be at the back with a pint at half mast, or in the seemingly growing throng assembled nearer the stage. While some instrumental bands tend to lose focus and allow their music to sprawl out too far, Quack Quack managed to keep things reined in impressively, while still maintaining a sense of excitement.

Coming out of 'retirement' for this very gig, Field Music proceeded to treat the crowd to a musically astute set, showcasing their northern grey-sky poptimistic tones, with the Brothers Brewis trading places at microphone and drum stool. Playing "only the good ones... and the easy ones," the band seemed to thoroughly enjoy the relaxed audience interaction, and the atmosphere shone through in the breezy set. Tight playing saw exchanges of staccato drumming, lilting piano and squalling guitar, topped off at times with the now almost traditional north-eastern harmonising vocal yelps, culminating in set highlight 'This House is Not a Home,' with its Bugsy Malone-esque skiffle beat and dramatic keys.

The supporting cast of wide ranging musical interpretations of similar genres were particularly ideal considering the style-trampling headlining act. Taking to the stage to a warm, lively reception, Deerhoof managed a bewitching set, with gently mystical hand gestures and almost onomatopoeic vocals from singer/bassist Satomi Matsuzaki. Opener 'Milkman' set the tone for the performance, with a range of taut guitar theatrics over drums that switched between frenzied power and softer rhythms as effortlessly as unconventionally. With a musical direction hinting more towards stargazing than shoegazing, the band audibly creaked with electric potential. The crowd stayed to see the one song encore and applaud the group healthily, despite the post-midnight finish. Not even a missed bus and a walk home could detract from the excellence of the night.