The Menagerie
Thursday 10th April
Tonight Across The Line finds itself in what must be one of Belfast's most wonderfully avant-garde night spots, The Menagerie. Bathed in the glow of minimalist candles and a projection show of art house style short film features, the stage was set for London based-Galway native Olan Stephens, also known as 'The Bedroom'. With a unique setting and an intriguing line-up at hand, it certainly promised to be a memorable night.
Setting the tone for the evening was the versatile Michael Speers. His alternative soundscapes lingered and swooned, a series of electronic loops and white noise culminating in a barrage of ambiance. Speers’ unconventional noises floated over the venue like sonic poetry, providing a strangely comforting backdrop to the dark room it was engulfed within. It's a sound unlikely to ever interest a mainstream crowd, which is perhaps the very reason this Menagerie audience stayed tuned-in to the intricate scream, bass and synth that glided over them. Menacing, resonate and never quite definitive, Speers’ performance feels like that of an artist. He manages to paint pictures through sound alone, without a single lyric to anchor his craft. A rare feat indeed.
Blooming into life with the orchestral ‘The Big Up’, The Bedroom wasted no time in making themselves known to those who remained of the sadly less than capacity crowd. In what is as much a performance to promote debut The Bedroom EP 'The Graveyard of Ambition' than anything else, Olan is joined on stage by tonight’s support act Michael Speers, playing drums to complete the two-piece line up. In a set bursting with electronic implosions, their ability to switch seamlessly from the striving contemporary rhythms of their opener to the 80's inspired melodies of the likes of 'Birthday Cake' may well have been their most impressive attribute. At times, The Bedroom's synth edge and pop infused dynamic conjured thoughts of Washington DC's 'Supersystem', however a series of impressively intricate time signatures alongside front man Olan Stephen's appreciation of a heavily reverberated vocal soon stamped their unique twist on the modern alt-wave. Final track 'My Everything' was guided by Stephen's ethereal vocals and hauntingly delicate guitar overlays. As it built slowly towards its ambient chorus, you simply had to look around to see the impact this band had on the crowd, the numbers having gradually grown, leaving a room with adoration and significantly more people to boot.
It was a fine night for Belfast's underground, as well as a fine re-introduction to the city for two young musicians with frightening potential.
Taylor Johnson
