Birdeatsbaby, At London’s famous Hope and Anchor Venue

April 11, 2014

Birdeatsbaby

Live at the Hope and Anchor, London.

Review by Grace Morris

Brighton’s bold and brooding ‘gothic cabaret’ act Birdeatsbaby find solace on the shores ofMexico to the streets of America and Germany’s kraut scene, however, they found themselves a little closer to home at London’s loud and proud Hope and Anchor, so we packed our bindle for a night of debauchery.

As we strolled in, Birdeatsbaby were manically setting up their vast collection of instruments, including’Brunnhilde’ their latest member (of the instrument persuasion), a sculpted slender double bass. This was all done under the watching eyes of an omniscient mannekin positioned at the right of the stage, eerily looming over the bands merchandise.

Amongsta mixture of passionate fans (named ‘the flock’ by BEB) and press, there is an apparent buzz, Mishkin Fitzgerald, lead singer and pianist wears a Gothic influenced outfit adorned with spiders and cobwebs. She stands behind her piano with her long elegant fingers poised to begin the enthralling performance. She begins the set by addressing the audience in an uninhibited and confident manner.

Tessa Giles, the violinist/singer, stared blanklythough the audience for what seemed like the whole evening. Teamedwith her dramatic violin playing skills she made a chilling and captivating spectacle.

The guitarist/bassist/double bassist, Gary Mitchell, switched seamlessly between instruments, in a fearless flux. The addition of the new double bass ‘Brunnhilde’ added both visual artistry and aural intensity.

Drummer, Katha Rothe, played with permeating depth and sheer power. She particularly stood out in the upcoming single ‘Spiders’ which features guest vocalist, Gabby Young. Disciplined and commanding drumming from Rothe brought to mind a death march, teamed with horror violin screeches and the feathered, tinkering piano. With a, dare we say it, vaguely hip/hop infused middle eight, which demonstrates the unconventional approach that really paves BEB its very own genre. The room was transfixed on the eerie opera, with Mishkin, the engaging front woman, hypnotising the audience with her ethereal voice, like a ghostly siren’s call.

‘Incitatus’ was a stand out track due to its unusual Gothic sea shanty style. It pulled the audience into its drunken sailor ship with audience participation. The audience were requested to shout the beginning of the chorus ‘Flog that horse’. It quickly turned into a beer flailing chant.

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