Having exploded back onto the scene earlier this summer with a couple of new songs and the announcement of their second album ‘Femejism’, Deap Vally play Glasgow as part of a short spurt of dates across the UK in between appearances at Tramlines Festival and Y Not. The hard-rock duo haven’t played in the city in nearly three years so it’s a highly anticipated gig for their legion of fans who have the opportunity to hear some new material in an intimate setting before the album’s release in September.
Support comes from Glasgow’s very own The Cut, a band who are relatively unknown to the audience given they have only formed recently. You certainly wouldn’t know it though as they seriously impress throughout their set, boasting the confidence and ease on stage of an accomplished band with years of experience. The female lead singer has strong vocals coated with distortion over pounding basslines as they have a grungy, punky vibe that definitely makes an impression on the audience. With a small online presence at the moment, it will be interesting to see more from this band in the future with a support slot lined up with WHITE and Baby Strange at their co-headline show at Glasgow’s ABC later this year.
Next up are the headline act Deap Vally, comprised of Lindsey Troy and Julie Edwards, who give the type of loud and energetic performance that they have become renowned for. It’s amazing just how much volume these guys can muster between them as Troy jumps and dances around the stage, shredding it up on guitar with huge riffs while Edwards maintains the rhythm by banging away on the drums like her life depends on it. Unusually the Glasgow crowd seems uncharacteristically quiet tonight (perhaps because it’s a Monday), which means that there is a lack of crowd-surfing opportunities for Troy, as is her norm, but the crowd clearly enjoys the set nonetheless with the levels of appreciation getting louder and louder as the gig progresses.
The set mainly consists of older material from 2013’s ‘Sistrionix’ with the brilliant ‘Lies’ and ‘Gonna Make My Own Money’ getting early outings, but there’s also the opportunity to hear a few new tracks from their upcoming album ‘Femejism’, with Troy declaring that the audience are their ‘guinea pigs’ for the night. Having worked with Nick Zinner of Yeah Yeah Yeah’s fame, there is greater scope for song structure on the new material, as opposed to their traditional ferocity. One song benefits from dramatic pauses throughout, as they playfully switch up the tempo, while ‘Teenage Queen’ and ‘Little Baby Beauty Queen’ are other obvious highlights. Those snarling vocals from Troy are as fierce as ever, ranging from mellow bluesy moments to full on rage; ironic given the duo’s warmth on stage as they enjoy good banter with the crowd, making it feel like you’re on a night out with friends.
Of the new material, ‘Smile More’ is the most impressive; Troy rejecting the notion from a stranger that she should do as the song title suggest. It starts off low key with stream of consciousness lyrics before building up to a feminist war cry; ‘I’m not ashamed of my body weight, I’m not ashamed of my rage… I’m not ashamed of my sex life’. If girls need good examples to look up to then they should look no further.
The gig ends in typical Deap Vally fashion with a ferocious take on ‘Walk of Shame’ and ‘Baby Call Hell’, which eventually leads to the PA cutting out. A pretty good effort from the duo who are definitely back with a bang.
This Deap Vally review was written by Suzanne Oswald, a GIGsoup contributor.