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It can be tough for a singer songwriter opening any gig. Vying for attention and fighting for volume can be intimidating and confidence sapping, but Jamie Neish puts paid to any such problems as he quickly gets the crowd on his side. Neish’s guitar style is understated and melodically effective, and his voice is strong enough so that his lyrics come through loud and clear, showing a young man with a strong sense of self assurance and a delicate touch, with couplets like, ‘Only 21 / all my hope is gone’. With the crowd watching keenly, this set is far too short for our liking. A class act.
Next up are quartet Napoleon. Describing themselves as ‘dirty country’, they’re more on the pop-rock end of the genre spectrum, and a fine job they make of it as well. They have a massive sound, and from the drum-led opener the energy levels are high, staying there until the end. The lads switch guitars and vocal duties smoothly, this multi-instrumentalism adding to the gig, rather than being an act of mere tokenism. All three front men are as good as each other., and with good melodies, good arrangements, good musicians and a big sound – Napoleon conquered this crowd.
Headliners, John Edgar Voe soon stride on to the stage, greeting us with “Vibrations in the minds of godâ€, and open with a two and half minute tequila slammer rockabilly number called ‘Thelma’. It’s a great opener that gets toes tapping and the last few begrudging sitters-down onto their feet. If anyone came expecting to see the ‘supergroup’ John Edgar Voe with a stageful of NI Music Award winners, they’d have been disappointed. The band look a little different than they do in the posters adorning the venue, but by this stage it hardly matters.
Frontman Martin Corrigan is an interesting character, not short of confidence, and with a unique vocal delivery. It’s this delivery that helps take songs that are from a different time and place and allows them to sit comfortably in Belfast in 2011, avoiding accusations of twee corniness. There’s always a danger of this style of music being denounced as derivative and trite, but John Edgar Voe manage to avoid such accusations.
Onwards they bound with recurring strands popping up throughout the set - death, murder, love and hate amongst them. The highlight of the set is ‘Highwayman’, a tale of stealing the heart of a woman, possessing an idiosyncratic guitar style – a clanging chord which pops up in the chorus and is gone almost as soon as it arrives is very affecting.Ìý
Each song is a short sharp story. ‘Jericho’ tells of a man banished to the hills who learns some ‘murdering skills’ that he’s going to bring back to town to avenge his tormentors, and gig closer ‘The Conscript’ is a tale of a man who has aspirations higher than his incarcerated station; “The world won’t ‘a seen the likes ‘a me before†sang Corrigan. And with that the gig was over.
Some fine ‘Fermanicana’ on display tonight from John Edgar Voe - a band worth seeing again.
Owen McNulty