It's like London buses. You wait for signs of life from the flagging genre that is indie-rock - bands who thrive on real emotion and throw everything behind their music - and would you believe it, two come along at once.
We are of course discussing the relative merits of JJ72 and Muse. Tonight the former stake their claim and you can't help feeling that without the presence of Matt Bellamy's West Country army, JJ72 would be sitting pretty at the moment. As it is they still have a lot to prove and after tonight's impressive performance they are more than capable of ascending to the perch they deserve.
The acclaimed debut album is out of the way and we await its follow up with baited breath. On the showing of the new tracks they air tonight, the temptation to go prog and pompous has thankfully eluded JJ72. The short-sweet-devastating formula employed on the debut has been improved upon and one song in particular, 'Formula', prompts a mass clapalong as if it was already old fan favourite.
It's difficult to comprehend such an aesthetically pleasing band making such a racket. On the left you have the facially-contorted Mark Greaney ravaging his guitar and spitting out his vocals in a manner that looks frankly painful. Set back in the shadows drummer Fergal Matthews beats the living daylights out of his kit to remind everyone he's still there while at the other extreme statuesque bassist Hilary Woods rocks elegantly on the spot, occasionally stepping forward to whisper a few backing vocals but barely raising a smile or showing any signs of emotion.
Not quite the tabloid fodder of the Oasis/Blur debacle, but the current tussle between messers Bellamy and Greaney as to who can make the most noise on stage is truly on. For the first half hour Greaney gives it his best shot with a virtuoso display greatly aided by the addition of a keyboardist and a deafening PA.
Opener 'October Swimming' sets the scene and the undeniably superb 'Surrender', 'Not Like You', and 'Snow' all follow in quick succession. During 'Algeria' Greaney's sneering "for ever and ever" refrain is reminiscent of a youthful Manics but over half way in and the effect of the nasal screaming and the thunderous noise are starting to wear thin.
Right on cue the others disappear to leave Mark to show just why he's such a talked about talent. An acoustic solo intermission follows where Greaney unleashes his killer choir-boy routine on 'Desertion' and 'Willow' that takes the crowd's breath away and takes JJ72 to another welcome level.
Right on cue the encore concludes with some "impromptu" instrument dismantling and they're off. An intriguing evening then. And JJ72 are only going to get more so.
