Deap Vally and The Cut @ Night & Day Café
Rock n’ Roll as sweaty as it is feisty
Words: Phil Weller | Photos: Anthony Firmin
On a day where The Independent reports that tattoos can give you cancer, LA duo Deap Vally opened their set with the shrill screams of “doing things that are bad for my body/doing things that are bad for my health.” Lindsey Troy fiercely delivered words fittingly encapsulate the band’s ‘live fast die young’ mentality, and all before a room fittingly coloured by inked flesh. You can’t help crack a smile as their kinetic rock n’ roll begins to prickle the air.
They quickly follow that up with Gonna Make My Own Money, a song that sounds like Jack White and Courtney Love waging war. The temperature in this sweaty little Northern Quarter café skyrockets and it becomes clear right there and then that this crowd cares about one thing and one thing only: Good old fashioned, dirty rock music.
It all makes for one hell of an opening statement, Troy breathless from the off as she vomits a never-ending surge of energy into her performance. It’s feral and it’s fantastic, more than making up for The Cut’s flat and nondescript support slot. Their songs, pinned down by tight but predictable drums and pulsating yet plain bass lines, were instantly forgettable and the moment Deap Vally’s first abrasive notes bruised your eardrums that’s exactly what happened.
Troy has crafted a perfect and animalistic guitar tone and, alongside Julie Edwards steady yet wild drum work, provided a springboard for escapism. Smile More, dragged from the band’s forthcoming album Femejism makes use of pinging guitars and deep rooted angst, the slow grind of Teenage Queen further tantalised us with what’s in store on the new record.
End Of The World and Grunge Bond are lessons in minimalism and simplicity, using space as a note itself, everything feeling very free and loose.
A lot has happened since the band last visited the UK back in 2013 – most notably the birth of Edwards’ first child – but Troy showed they haven’t lost their sense of fun during a high Octane Baby I Call Hell by launching herself into the crowd while her guitar purrs with feedback on the stage floor.
Another new song, written as LBBQ on the set list is introduced as a something the band wrote in Mexico and it derives a suitably stoner rock aesthetic. Snarling fuzz guitars and plodding beats are the name of the game here and it proves the band still has plenty of surprises in them yet. They’re not going away anytime soon.