Review: Darwin Deez @ Sound Control, Manchester, 15/02/13

It’s been a while since we heard from this mirthful little fellow, and we were eager to see how he’d progressed from that rather infectious self titled debut. More importantly though, would the synchronised dance breaks still be making an appearance and would that hair band still be in tact?

Yes. Yes they would.

Kicking things off with new single ‘You Can’t Be My Girl’ it was obvious that Darwin was back with an almighty bang. Vibrant and full of zest. Despite our unfamiliarity with the vast majority of material (the album having been released a mere four days previous), the mood wasn't hindered whatsoever, such is the breezy, curiously catchy nature of Deez’s offerings.

Awash with idiosyncratic, serrated guitar, it’s abundantly obvious that Darwin’s command of the axe has improved considerably and he sure as hell made sure we recognised this. Interspersing proceedings with gargantuan guitar solos that were more rock god than lo-fi cutie, he fully indulged himself, and we were more than happy to oblige.

Naturally the biggest roars of the evening came for his kooky first album acclamations. The incandescent double whammy of ‘DNA’ and ‘Up In The Clouds’ had a noticeably delighted crowd swaying with every flurry and tinkle of strings. ‘Constellations’ and ‘Radar Detector’ provoked a mass sing-along, with their off-beat charm still maddeningly contagious three years on.

A pivotal moment came in the form of new album track ‘Moonlit’. Flourishing with synth-soul and capricious licks, there was a distinctive 80s vibe about it - with bountiful, gilded bass and elongated interludes. There was a definite sense that these tracks are far fuller and grandiose than the simplistic odes of the first album. ‘Free (The Editorial Me)’ with its rebellious lyrics and sense of hope was almost anthemic, with its stand-out, garage-rock chorus.

Much of Deez’s writing is centred on love and hope, and that battling tension was a standard signature throughout the night. The more affecting and lovelorn ‘No Love’ and ‘Redshift’ proved to be adept examples of his ability to juxtapose the upbeat nature of pop with a decided sense of melancholy.

Many preconceptions are made of Mr Deez merely because of the way he looks, and you’d be forgiven for thinking he takes himself incredibly seriously. However, I’d beg to differ. Noticeably charming, droll and effusive throughout, he’s acutely endearing with a very certain glint in his eye, and effortlessly held our attention for the duration with his wise cracks and anecdotes of NYC life.

And as for those ironic dance routines that have come in for some harsh criticism; long may they reign. There’s something to be said for a convivial live show, something deviating, something, dare I say it; entertaining and fun. Something Darwin Deez has down to a T.

Words and photo: Michelle Lloyd 

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