Returning to the Finsbury amidst the growing winter cold, we eagerly set up for our final collaboration with Lost In the Manor in 2018. Throughout the year, we’ve had an eclectic mix of artists join us in North London, however we notably kept some particular gems to see out the year in style.
Our first band Gemini Sun started the night with a melancholy take on indie, held together with a dreamwave glue that kept each track moving with a lucidity that made them notoriously difficult to pin down. Respectfully, this allowed them to flit between sounds and styles with ease; showing the full creative mindset of frontman Sam Dukes as the crowd in the room began to grow.
Reminiscent of some of the biggest names in early noughties rock, our second act Mystic Rain Frogs delivered some flickers of Tame Impala and tastes of the Foo Fighters, amidst much heavier influences. Vocalist Luke Brealey did will to swing between quieter and heavier parts of their repertoire, commanding the stage and keeping the audience enthralled with their growing tempo and volume.
Stepping over into the instrumental foray, Japanese Television delivered a dynamic set that kept the room engaged throughout. Pulling from areas of early grunge and the UK’s growing neu-punk scene, their sound resonated well with the audience and offered a slightly different tase from what was on offer from the rest of the lineup.
What seemed like a sound that was a home for more introspective listeners, the entire crowd hung on every note as their set list entertained many different influences within rock, notoriously gathering some new fans before they finished their set.
Welcomed by an eager crowd, our headliners FLOAT took the stage with a confidence that only comes from a notoriety that has been earned over time. Their set was met with recognisable nods by nearly all, with an obvious sense of dedicated fandom flittering through the room.
The singer Edmund C. Short was animated in his delivery, falling to his knees mid set as if lost in his own creative allure; something that the entire audience was invested in hook, line and sinker.
Their style flitted between shady americana and the darker sides of the UK’s indie scene, discovering a shade of noir that’s oh-so-difficult to master but delectably alluring when you find it. Similar bands such as Heirloom and Strange Cages have also joined this new wave of alternative rock, together building a dedicated fanbase of listeners that are growing an affinity that only few bands can deliver on. With much to come, we’re keen to see FLOAT’s next steps in 2019.