A Void – Voodoo Daddy’s Showroom 28.2.23
Entering Voodoo Daddy’s for the first time was tarnished slightly by walking into a cover of Amy Whitehouse's 'Back to Black' - no shade on the opening act, it’s just not my jam, marmalade or chutney of any persuasion. Sorry. Following it up with Radiohead's 'Just' tickles the pickle a little more however.
MAGNOLIA
Some serious crowd-inciting waggle hands prefix Magnolia's scramble onto the stage. Stage lights flare, the whoops of the partisan crowd intensify and...pregnant pause...*technical issues*. After some serious problem-solving panic hands, we are launched into the band's captivating fusion of "psychedelic post-punk". The crowd's collective cucumbers are coaxed into a cacophony of cavortings and soon bodies are being thrown all over the gaff. As the corpses are dragged to the side of the room, the band settle into their groove. Passages of ethereal meandering are interspersed with occasional verbal outbursts before being interrupted with more immediate chunks of choon. The bouncing riff from Nirvana's Breed makes an appearance. Suddenly, the descending interlude from Sepultura's Roots Bloody Roots comes crushing in. Later, we get a prime Sabbath-at-their-doomiest passage overlaid with sax.
It's a heady mix, the band clearly drawing influence from a myriad of sources and, while I couldn't quite keep up with the multitude of transitions in their songs, I certainly couldn't take my eyes and ears away. Good job too as it isn't long before Ross Noble on guitars takes on mumble rapping duties...seriously. Soon after I spot the bassist nonchalantly smoothing his hair behind his ears while chugging out some open notes. Then, from nowhere, a foot-long flathead screwdriver apparates to be used as a slide. Jimmy Page, get yourself down Wickes.
A VOID
The familiar chimes of Tchaikovsky's Dance of the Sugar Plum Fairy welcome our headliners A Void. The room has thinned out somewhat as their predecessor’s posse treat themselves to some recovery time. Singer-guitarist Camille, however, is fresh from some pre-performance stretches and is ready to party. This is the group’s first venture to Norwich, but the fire and fuzz of their sound suits the compact venue and, with the room quickly filling back up, they have a responsive crowd for their quiet-noisy grunginess. Camille gives a great vocal performance, seamlessly switching between soft serenade and snarling screams. Alongside her it is noticeable that the usual rhythm section has been cleaved apart. Aaron on bass is present. His movements veering from snaking hips to berserk flailing while also providing the most sultry of clapping-in-time encouragement to the rabid crowd. But drumming duties are normally carried out by Marie Niemiec. Not tonight. Any fears that her absence would impede them are quickly allayed however, as the be-shorted substitute entrusted with the sticks fills the VOID perfectly. And, as his presence is acknowledged by Camille, we are treated to a genuinely entertaining drum solo that doesn’t outstay it’s welcome. “OI OI OI”. The set list leans heavily on the band’s self-released second album ‘Dissociation’ - the bounce of Stepping On Snails, blasts in Newspapers and sing-a-long chorus of Sick as a Dog propelling the trio through their whirlwind performance. And then it’s over. The rollercoaster jerks to a halt and the crowd slowly disperse; off to limp home and nurse their bruised ribs in the morning.