The Redwings v The Clones

There have been fairer match ups in the history of all things competitive, but I suppose this gig had to be billed as something. As we all know, beauty is in the eye of the beholder and it is up to the individual to decide who was their winner, but as far as technical ability, attitude, and variation are concerned, The Clones win hands down.

This is not to say The Redwings were rubbish, far from it, in fact they are immeasurably better than the last time Listen Up saw them as a three-piece back at the old 12 Bar, however they still contain that thick streak of arrogance that makes them easily disliked.

Intimate surrounding

'We're not playing anything until everyone comes to the front,' exclaims the lead guitarist as he tries in vain to entice an intimate surrounding. Needless to say barely anyone comes forward and the band have to start anyway to avoid over-running.

Tonight, The Redwings are a fully fledged four piece, rather than the party metal three piece of recent days, with a certain member of the Sushi Pills making up the numbers, and visually fitting in rather well.

The' wings kicked off proceedings with a jaunty rush through a pop-punk number that the band are known for, there is clearly something talented and creative within the bands' mind, vying to get out, because despite their chaotic sound, they appear to have control over every, glitch, screech and wail of feedback that materialises, effortlessly making it work to their advantage.

Perfectly soft

The set took on a new dimension with the inclusion of two covers. First T-Rex's 20th Century Boy which benefited greatly from a punk makeover, then Billy Bragg's New England, which was so perfectly soft it sounded almost acoustic, and mesmerised the 12 Bar into a state of frightening concentration.

The rest of the set was their own creation, and impressed more as it progressed. However, whilst the band have potentially the best front man in the city, they have to step away from their contemporaries and their influences if they are to make any notable impact, and if they insist on continuing the over-confident, Gallagher-esque front that they portray, they need to have to sound to back it up - and despite a few reservations, it isn't out of reach.

The Clones set was one of their longest yet and blended a number of new songs into the set already littered with the usual suspects and even some old-timers dug up from their early shows.

General banter

The band take a while to get going, with front man Billy seeming quieter and darker than usual, and the others lacking the interaction and general banter that usually accompanies them. These Girls, looks set to be the highlight of the set before losing its 'oomfph' halfway through, as the set heads worryingly towards the world of 'can't be arsed.'

Mid-set, however, everything changes, and the whole tight-knit professionalism is abandoned for the ramshackle brilliance that everyone knows The Clones are capable of, Billy begins to sing in character, putting on different singing voices throughout Roll Your Eyes and Sweet, and even regaining his trademark shuffle.

New songs such as Love On The Canal and Josephine are settling into the set comfortably and old songs including My, my, my dear, and 'Janine' (soon to be renamed) have been revamped to invoke as much commotion as any other numbers.

So the setlist continues to grow and evolve, and still the band play Preston, over and over. I don't mean to push The Clones away, they are a joy to watch, but they need to spread their wings, and their music elsewhere in order to do themselves justice.

Written by Dan Jeoffroy

Photography: Dan Jeoffroy