It was not a promising first impression to see Jive’s upstairs area blocked off for what might be termed the party rock segment of the Coopers Alive weekend. Quite apart from being one of the best angles from which to view a group, the upper level is closed for events of minimal capacity, which, sadly for a Friday night, this gig turned out to be. The slim crowd should not be taken as an indicator of the quality of the groups on show, however. Each possesses real quality, albeit manifested in different ways. All are also at different points of their development, two existing without anything like the level of industry assistance taken on by the other.
Openers the Shiny Brights have energy, skill and an energetic frontman called Wolfgang. At times his rough-edged mannerisms tend towards the broad strokes of some cover band singers, programmed as they are to desperately extract a response from an uninterested audience. But the quality of the band’s material is evident across the influences that seep into their sound, from the Strokes and the Arctic Monkeys to the Cure’s less self-obsessed moments. The launch of an EP is imminent.
Next up were Mad Shapes, away from their usual haven at the Edinburgh Castle. Never having seen them before, I was immediately impressed by a tight, well-grooved sound and the eminently danceable quality of most of their music. Tracks like Yellow Black Blue, Motivation and Emergency Lover neatly captured the sort of dance rock party vibe so many bands seem to strive for at present. Front man Shane Shepherd is an angular, Jarvis Cocker/Alex Kapranos type with an eye for the observationally absurd and a voice that is equal parts insistence and insouciance. Keyboardist Jenie Kusic keeps her head down through most of the show, but her *B-52s*esque flourishes add a likeably poppy tinge to rhythms that could have come from Gang Of Four if they weren’t accompanied by lyrics more joyously silly than politically strident. Like the Shiny Brights, Mad Shapes have an EP in the oven, and provided they gig widely there is no reason they should not develop a large, dancing gaggle of fans.
By now Jive was as packed as it was going to get, far from teeming but at least full enough to give Former Child Stars some kind of crowd to play for. Promising a selection of new and re-worked tunes from their recent sessions with noted producer Scott Horscroft, keys-toting singer Luke O’Loughlin – the eponymous star – emphasised the night would bring something different to the table. There was definitely more body to the likes of Control and Polaroid than has been seen at previous shows, the latter negotiating some worthwhile, word picture territory. Indeed, it is fair to say at this point that the group’s Jet-like rockstar image, maintained by the carefully messy hairstyles of the band members, is doing O’Loughlin and company a disservice. There should be more in store for them than duets with Iggy Pop and dismissive reviews in Pitchfork, so why dress like that?
