Given the current musical climate of indie saturation, in order to achieve success a band must offer something unique, something more than disposable hooks and earnest crooning. The two bands that make up the ‘Blue Steel’ double bill tour, Yves Klein Blue and John Steel Singers represent groups that have this potential however they are currently in two different stages of progression. Yves Klein Blue, on the verge of widespread notoriety, offer a tight, electrifying live show that highlights the variety of their influences. Whereas, The John Steel Singers are clearly also a talented group with some great pop-curio numbers, however their live performance suffers from a slight lack of focus that comes with inexperience.

The John Steel Singers, made up of six members of diverse musical backgrounds, began impressively with chunky bass lines, keyboard melodies and tight drumlines. Originally the bands live sound indicated febrile indie-pop, eliciting comparisons with a more filled out version of the Zutons, however this quickly transformed to a more angst ridden style. Despite constant instrument changes – including trombone, glock, of course cowbell and possibly a kazoo – it became clear the band was attempting to guide their live performance towards a heavier sound. This often resulted in lead singer, William Steel spending time getting acquainted with the Northcote’s stage floor. Though this offered a more live feel, it was rather uninspiring and when the band reverted to their indie-pop roots for their last portion of the set the crowd showed their appreciation. The climax of the set included the mirthful Strawberry Wine and they finished by getting the band manager Maggie to join them on stage with a beer bottle and a spoon (an inventive substitute for a missing tambourine) for the wonderful Evolution. Rather than looking towards a darker side in the quest for a good live performance, The John Steel Singers should use their clear musical talent and varying instruments at their disposal to present more of the savvy pop-style that they do so well.

Given Yves Klein Blue’s reputation for tight, catchy indie tracks, their opening song Digital Love came as a surprise as a heavy hitting almost punk number nuanced by the youthful exuberance of front man Michael Tomlinson’s* voice. This extremely impressive track fits perfectly with the bands image, as lead singer Tomlinson’s unpretentious and cool style is offset perfectly by the rest of the band’s rock aesthetic of shoulder length hair and dark t-shirts. As the set progressed songs alternated between the bands’ more renowned indie anthems such as Silence is Distance (off the new EP) where comparisons with Arctic Monkeys are warranted and others where Beatles influences become apparent. Through the different styles, Tomlinson’s talents as a frontman truly shine offering comparison with the showmanship of Brandon Flowers (of Killers fame). What is perhaps most impressive about YKB is their ability to offer an extremely impressive live sound that doesn’t rely on catchy hooks (not that they aren’t present) that even the most jaded rock fan could appreciate. Two brand new tracks were played including the solid Queeny, while the gypsy-inspired Polka was a clear crowd favourite and had everyone dancing. YKB finished off as they started, with another heavy gem called Gin Sling that again highlighted the bands ability to nail a credible rock song.

What was so great about this double billed show was the true appreciation and mutual respect the bands showed for each other, constantly dropping compliments for their counterparts throughout the performances. Hence when the encore performance consisted of all ten members of both bands up on stage doing a cover of David Bowie’s Suffragette City it was truly a pleasure to watch.

Both these bands have potential for greater things with YKB already offering a superb live show topped off by a wonderfuly charismatic yet humble frontman. The John Steel Singers show capabilities of making their mark in the ever competitve indie scene through their knack for blending a variety of instruments to create great indie-pop numbers.