Live Review: Sunbeam Sound Machine, Lioness Eye, Wilds

In the intimate, nook setting of The Tote's Cobra Bar, Wilds (aka Joel Hanna) kicks off the night with his jangly guitar-pop. It feels as if Hanna might have been tacked onto the bill at the last minute with his disorganised, late start plagued by sound problems – perhaps a bad omen for his set. Hanna's soaring, gentle voice struggles with higher notes and he often misses the mic, causing an unintentionally disjointed sound. An emotive soloist, Hanna's thin guitar chords would be greatly enriched by a backing band when playing live.
The noise unleashed by greasy-rock outfit Lioness Eye pierces the tiny space with powerful bass and tambourine played simultaneously to great effect. However, it's a hairy drunken mosher who steals the show; appreciatively thrashing and playing air-guitar, completely out of sync with the hip, neat young men lining the room. The set itself comprises lengthy, sprawling psych songs in the vein of '70s classic rock. These songs are largely instrumental, littered with plenty of “yeow”s from frontman Bill Patching.
Here for the last night of their residency, Sunbeam Sound Machine, the sparkling brainchild of Nick Sowersby, play to a perfectly packed-out space; the floor filled while others stand on benches against the walls. Along with his live band, Sowersby begins with eerie, twanging notes to anticipate the lush, gentle glow of Cosmic Love Affair. While more upbeat follow-ups Sound Of Glass Breaking and Little While also demonstrate his textured brand of warm alt.rock, these tracks really showcase Sowersby's exceptional knack for dreamy soundscapes, contained within keen pop melodies. Sowersby proves both a dynamic and lackadaisical frontman – his shaggy blonde mop recalling a certain someone from the '90s. Back-up vocalist Sophie Treloar demurely lets Sowersby take centre stage, while contributing to well-blended harmonies. However, these would be further enhanced if her vocals were turned up a notch. She occasionally drives some of the more revved-up melodies, which evoke a sunnier, surfy vibe and result in enthusiastic retro-style dancing up front.
Unfortunately, the drunken mosher returns to 'dance', barging into people in an obnoxious, inappropriate manner given the style of music. Sowersby and Treloar smile at his scene-making, but they'd be forgiven for being put off. Luckily the exhibitionist takes off before the buzzing, frenetic goodness of closer Odd Connection, which sees Treloar dancing and really getting into the music along with the crowd. For a luminous new example of contemporary psych-pop, keep your eyes peeled for Sunbeam Sound Machine.