Live Little Comets

With less than a week to go, a venue change is announced due to “unforeseen circumstances”. Relocated from Norwich’s Open to The Waterfront’s more intimate upstairs room, do promoters overestimate the popularity of the boys from Tyne and Wear? Evidently not, because the Studio quickly becomes Little Comet’s second sell-out Norwich gig of the year.

Indie-rock five-piece Tied To The Mast open the night to a room filled with very happy, excitable teens. Amongst the usual suspects, strangely, are a few chaps well over fifty, as well as a couple of 20-something men in snapbacks who fist pump their way through every song. TTTM open strongly, with a concise 30-minute set and a sound reminiscent of Tall Ships.

Next up is General Fiasco who, much like the headliners, provides upbeat and inoffensive indie. The band previously toured alongside the likes of The Wombats, The Enemy, and Jet, and are supporting Little Comets on all their UK dates. General Fiasco released their second album through Dirty Hit Records earlier this year, and their set list, as a result, is a hybrid of new and old. The U18s are getting pretty excited by this point, and though General Fiasco have quite the name for themselves, anticipation for the main event is mounting.

When the washing line of eclectic percussion instruments (a fixture of all of Little Comet’s gigs) is pulled across the stage, tension grows; the headliners appear on stage. Lead singer, Robert Cole, comments on the differing atmosphere The Waterfront Studio has to their usual Norwich venue, The Arts Centre. Having seen them perform there early 2012, the crowd are certainly less passive and more energetic than was the case previously. Joanne, One Night In October (performed in October, how lovely), and Adultery are some of the set’s highlights. The new album Life Is Elsewhere hasn’t been out long enough for the songs to be as well engrained as the gems from In Search Of Elusive Little Comets, yet there is a core fan base who know every lyric. Regardless of personal perceptions of the band, with an entire room dancing, clapping and singing along as a man hits a tambourine suspended from a pole and words like “quintessentially” are seamlessly woven into tracks, it would be hard for even the most anti-indie folk individual to stand still.

Drawing the gig to an end, a track which has gained momentum thanks to its recent role in a Radox advert begins. It seems snapback wearers, older gentlemen, and teenage girls alike all appreciate This One’s For Dancing, and the melodic and linguistic indie-pop from Tyne Side.