Hope of the States

Impressively supported by 22-20s as a backing-band, it’s seems apt that the group spend the whole set looking inwards on opener Willy Mason. The singer/songwriter is already at the centre of attention from all angles because of (unfortunate) comparisons to Dylan and (thankfully) because of his excellent album ‘Where the Humans Eat’. For a 20 year-old with so much pressure on his shoulders, Mason is remarkably confident and his deep vocal tones can’t fail but impress. Resembling a tuneful Conor Oberst with the confidence of a less-annoying Ryan Adams, each song receives a fairytale introduction and the whole set seems magical. Cracked vocals on an unaccompanied ‘Oxygen’ only endear you more to a singer-songwriter with a passion for change: “Do you remember the forgotten America? Justice, equality, freedom to every race.” It can only remind you of singers like Zimmerman who tried to try and make a difference and not just sob away with a guitar and tub of Haagen-Dazs.

Speaking of ice-cream, the coolest act on the planet right now, apparently, is The Bravery who have created a stir in the media after a string of high-profile support sets and an attachment to the current love of anything ‘80s. ‘Unconditional’ is a suitably synthesised anthem but too much of the set is lost in a fog of dry ice, cloudy vocals and calculated poses. New single ‘Honest Mistake’ and the pleading ‘No Brakes’ are highlights but The Bravery appear to be trying far too hard to sound like their influences. The singer could go on Stars In Their Eyes ready-dressed as Morrissey for Christ's sake! The fret-wanking of closer ‘Fearless’ is typical of a set which hints at raw greatness but never ventures out of a cultural cul-de-sac for fear of not seeming hip. End result? Not very brave at all.

Sons & Daughters have some Scottish courage, however, for taking a slot which is arguably much higher than their popularity would suggest. Despite this their countrified rock occasionally veers successfully into sounding like the 'Blue n’ White Stripes'. ‘Johnny Cash’ is stomping loveliness while ‘Broken Bones’ slowly builds up impressively before reaching a mighty climax. Too much of the set hides shyly behind puerile riffing and ‘raw hiiiide-style’ yelps to truly impress though. Not the tearaway son or daughter who embarrasses the family then but in no ways the favourite child.

Hope Of The States however are the quintessential Marmite band in that you’ll either love or hate them instantly. The band appear to have overcome the suicide of guitarist James Lawrence as well as the disappointment of ‘The Lost Riots’ not exactly tearing the country up as the title suggested. With new songs as powerful as ‘The Good Fight’ though it’s hard to hold anything against them, and the sharp bite of the new songs is typified by a visual show with statements such as: ‘Modern Life Is Fucking Terrifying’.

However, no matter how desperate the mood becomes, ‘Enemies/Friends’ and ‘The Red The White The Black The Blue’ are still gloriously OTT and succeed in bringing people together. There’s no eye-liner, leather jackets or ironic mullets but plenty of passion and just the right amount of violin without sounding treacly.

It may well be terrifying, but with bands like Hope Of The States at least modern life no longer seems quite so rubbish.