REVIEW: Life Aquatic Band at Sidney&Matilda
When Life Aquatic Band take a straw poll of newbies and returning fans early into their headline set, both responses get a firm cheer. The former testament to the growing national reputation they’re earning as “Sheffield’s finest fusion band”; the latter that once you’ve experienced their giddy blend of all things danceable, it’s hard not to come back for more.
They promise to be as good an antidote for the early December gloom as any, with two preceding acts to help us transition from winter coats to dancefloor-appropriate attire: Spook Muziek is the first up.
The solo project of Sheffield music scene stalwart Adam Follett, it’s no easy task for one man to command the spacious surrounds of Sidney&Matilda’s Gallery Room. How does he get on? With customary aplomb, of course. Bedecked in trademark burgundy velvet jacket and sunglasses, prop telephone in tow, we’re treated to a deft set of genre-spanning grooves and earworms. The sinuous synth bass and hooks of opener ‘Lucky’ beguile the growing crowd, before trip-hop banger ‘Pop Culture’ ups the ante, in no small part due to an impressive leap off stage. My knees twinge in solidarity. New track ‘Bugs in the Lemonade’ is a highlight, Follett effortlessly octave-hopping over Bryan Ferry-esque lounge lizard synths, as is latest single ‘Big Wow!’, a heady mix of electroclash grit and disdain for the materialistic. My notes read “‘That Don’t Impress Me Much’ for the modern age”. Words that I’ll stand by, whether Shania likes it or not. As Spook Muziek wraps up with the half-wry, all-heart romance of ‘Daydreams’, he falls to the floor, crawling towards the audience as if in search of succour. He finds it in the form of glowing applause and cheers, just reward for a perfect opener. Outer layers now largely removed, everyone in attendance is already beginning to look a little more ready for the floor.
Up next are the recently-formed The Pearl River Band, playing only their second show after debuting at last month’s Jarred Up Fest. It’s a confident follow-up, the step up to a bigger stage only serving to augment their punchy blend of surf rock, psychedelia and glam. ‘Succumb to the Devil’ is a highlight, recalling the menacing stomp of the Cramps, as is the frenetic latest single ‘Alive’, where quavering organ and muscular rhythms underpin singers Margo Osbaldiston and Luke Thompson’s powerful vocals. By the time of set closer ‘Crawling (Under My Skin)’, the band are in full, unfettered flow, drummer Benji Wilson doing sterling work harnessing the chaos led by guitarist Ben Deegan’s guitar heroics. They look the part - I’ve seen few new bands work the early ‘70s aesthetic so faithfully - but it would be wrong to dismiss the The Pearl River Band as just a throwback. Their take on these classic sounds is assured and distinct, and it’s exciting to see how this develops. Based on the audience reception, they won’t be shy of followers.
Gallery Room now fully warmed up, Life Aquatic Band take the stage to a rapturous reception. Those uninitiated may wonder what exactly they’re a “finest fusion” of. The simple answer: anything you can dance to, and even the most reluctant shoegazer WILL dance. Opener and recent single ‘Summer Rain’ has the room immediately locked in to its balmy groove, the winter dreich lurking outside now a very distant prospect in the face of bouncing synths and Jazmine Kelly’s sweet, soulful vocals. Loping, swampy reggae follows in the form of ‘Night Shift’, versatility on full display as multi-instrumentalists/singers Kelly, Ben Allen and Tim Peters switch between vocals, guitars, keys, trombones, percussion and stage positions with practised ease. Drummer Will Shaw and bassist Ben Evans are the only two members of the five-piece who stay (relatively) put, physically and musically anchoring the joyful abandon in front of them; you won’t find a more locked-in rhythm section.
The juxtaposition of on-stage fluidity and laser precision recalls ‘Stop Making Sense’, not too grand a comparison when there isn’t a still body in the room. David Byrne is also evident in the mix of paranoia and compulsive groove on ‘Buggin’ Out’, demonstrating the multi-faceted appeal of L.A.B; it may be music for good times, but Allen and Kely’s lyrical themes of millennial anxiety have a bite and wit that give heft to dryly-delivered verses and impassioned, shout-along choruses alike. A mid-set run of six segued songs set a thrilling pace, the audience yelling along with glee to the hook-laden “YOU CAN DO IT!” and the irresistible ‘suckah suckah’ refrain of ‘Bottom/Top’.
The best is saved to last with the superb one-two finish of ‘Brunch Mindset’ and ‘Stuck in the Mud’. The former has all the madcap energy of the Wes Anderson film the band are named for - lightning bass riffs, wry vocal call-and-response, Peters’ soaring falsetto vocals - and Allen’s struggles with a recalcitrant microphone stand only add to the fun. ‘Stuck in the Mud’, latest single and recently played on Craig Charles’ Funk and Soul Show, is pure dancefloor fuel reminiscent of LCD Soundsystem in its disco beat, vocal flourishes and disaffected exploration of exactly how much we want our lives to be “predictable”. The fact that an accompanying dance already exists for a song released a month ago is all the evidence you need to demonstrate L.A.B’s appeal.
It’s a wide appeal, too. Veteran gig-goers and youngsters of all stripes find something to catch both ear and feet, proving that for all the multiple forms music can take, you can’t beat the delights of collective movement. The band look like they’re having the time of their lives orchestrating it all, and rightly so. With a new EP and more shows to come in 2026, now’s the time to join Life Aquatic Band on their joyful voyage.
Words: Dave Cuthbertson
