Just goes to Show

Phil Boyle discovers The Shortwave Set and finds that quality and popularity don’t always overlap

The night starts with an impressive performance from local trio Dot to Dots. Proving that British folk-pop isn’t limited to the gratuitously annual Mercury prize nod; one wouldn’t be hugely surprised if Rachel Unthank (spot the contradiction) inspired this band to quickly gain a higher profile.

Admired by such luminaries as Goldfrapp, Moby and John Cale, and boasting an eccentrically poppy sound, one would expect The Shortwave Set to have attracted a degree of popular success in the last five years. Disappointingly however, tonight’s crowd is threadbare. In spite of such public apathy, the London/Scandinavian three-piece are in imperious form.

They open, as does their most recent album, with Harmonia. Frontman Andrew Pettit’s unsettling guitar sounds are perfectly complimented by Ulrika Bjorsne’s gorgeous vocals, and the gentle synth-melodies of David Farrell.

One of 2008’s stand-out tracks, one hopes the band haven’t peaked too early. Such worries evade those in attendance though, as the happy few fall silently reverential.

The band launch into tracks taken from their latest LP, Replica Sun Machine. No Social is an early highlight, creating a haunting sound resonant of The Bad Seeds and The Sonics.

The opening songs are well-received by the crowd, but it takes a cover of Grace Jones’ Slave to the Rhythm before the band seem ease themselves into truly comfortable territory. Shorn of the introspective self-reflection of their own lyrics, the 80’s icon’s hit is positively blasted out. Minor first album hit Is it any wonder? immediately follows and the band’s presence begins to dominate the stage; more so than any other, this track epitomises the definitive sound of The Shortwave Set.

Gentle, fragile vocals and guitars contradicted and enlightened by the electronic soundscapes emanating from their dazzling armoury of equipment. It still sounds as majestic as it did three years ago.

The band’s releases have won substantial critical acclaim. Despite countless ‘Single/Album of the week/month’ awards from the likes of Zane Lowe, Lauren Laverne and many a newspaper, sales have remained modest.

It seems baffling that as Top 10 hits and prominent festivals slots are thrown the way of generic indie bands, many of whom possess a single memorable chorus drawn out for an entire album, The Shortwave Set are ignored. Their sound is quirkily accessible, but has yet to enjoy the breakthrough of a Play or a Moon Safari.

Having truly shaken off any initial nerves, the band hit full-speed for the rest of the night’s proceedings. Full-speed in terms of melancholic electro-pop, that is.

Replica veers between Doctor Who theme tune-esque psychedelia and orchestral melodies reminiscent of Arcade Fire’s most life-affirming moments. First-ever release Slingshot is clinically dispatched without even a cursory hint of apprehension, whilst absurdly catchy forthcoming single Glitches and Bugs sees many a hesitant foot begin to tap.

The set ends with Sun Machine. Spellbindingly beautiful, an appreciative hush falls briefly upon an industrial corner of provincial Tyneside.

The crowd may have been sparse, but those in attendance were treated to something special. Even the lack of an encore fails to dim the smiles being exchanged between strangers as they leave, as if to acknowledge that they’re all in on a wonderful secret that few others know about.

On tonight’s evidence, it can’t be long before the public at large are in on them.

Replica Sun Machine is out now on Wall of Sound Records.

4 Stars