Review: Deerhoof, Strange Brew – ‘A sound uniquely theirs’

Strange Brew is buzzing with anticipation. This show has been sold out for weeks, and it feels like the venue has pulled off quite the coup by managing to book Deerhoof.

Surely, such is their superstardom that they could be playing a bigger venue. The Beacon, or the Lantern at the very least. But what a treat for us to see them at such close quarters, in such an intimate setting.

Support tonight comes from Bristol band foot foot, and then Deerhoof’s drummer Greg Saunier puts in a double shift, appearing as one half of Rosemary Sauce before the main event.

Locals foot foot do us proud tonight. They don’t seem to quite believe they are opening for Deerhoof. But they should believe it; they are perfect for this bill.

The Bristol five-piece released their debut album, Still Waters, Empty House, in February

There’s a pleasing symmetry about their set up. Five members, drummer and bassist to the left, violinist and sax to the right, and in the middle the singer/guitarist.

She bridges the gap between rhythm and melody, her guitar lines often doubling with the bass creating delicious, chunky riffs, while her honeyed sparse vocals weave playfully with the violin and sax.

It’s like sunlight dancing across the surface of the deepest ocean.

Quirky and original, foot foot have already appeared at Breakfest, Outer Town and Dot to Dot; follow them @footfootband for upcoming shows

They have an easy, affable presence on stage, and they are delightfully humble. But don’t be fooled. They’re highly accomplished, quirky and original. foot foot are going places.

Next up it’s two piece Rosemary Sauce. Although nice enough, this is a condiment I could live without.

Perhaps it’s just too nice. The lyrics are simple and songs are often just one idea repeated over and over: “I’m a seed, I’m a seed, I’m a seed/ Plant me in the ground”, or “Yellow is the colour of the sun”. Okay, and…?

“Hi, I’m Rosemary and he’s Sauce…” Bad banter, tough or altogether wrong crowd?

Both members of the band wear handmade Free Palestine t-shirts, and their shirts make more of a statement than their songs.

Perhaps they would be more convincing if the lyrics were delivered with more force. Then the naivety could be a statement, perhaps in defiance of the violence that their t-shirts allude to. But it is all just… nice.

At the end, incongruously, the singer invites us to talk to her about mushrooms “in any shape or form” after the show, and plugs a retreat on Dartmoor. I can’t help but feel they’ve turned up to the wrong show. Sorry, Greg.

Fungis to be with? Interest in September’s ‘deep dive into Dartmoor’s wild mushrooms’ was muted

But all is forgiven when he takes his rightful place alongside his Deerhoof collaborators. They still have the same explosive energy of 20 years ago and, impressively, even more hair.

Singer and bassist Satomi Matsuzaki is the first performer of the evening to acknowledge Ozzy Osbourne’s death, which was announced just as the doors opened tonight, and she kicks off the set with a cover of Miracle Man in tribute to him.

Satomi Matsuzaki led a tribute to Black Sabbath frontman Ozzy Osbourne, whose death was announced as the show commenced, reading lyrics from his song Miracle Man at the beginning of Deerhoof’s set

Touchingly, she also has ‘Ozzy’ written across the fingers of her left hand. She tries to get the audience to join in a call and response of “Miracle Man” – “Got busted!” – but people seem confused and it doesn’t quite land.

But then onto the real thing, and Deerhoof dive deep into their material.

Masters at work, they’re so in tune with each other that they’re almost like four limbs of the same body.  The interplay between the two guitars is divine, and John Dietrich and Ed Rodriguez compliment each other perfectly.

Rodriguez is flamboyant, exuberant, while Dietrich is serious and solid, although no less impressive.

The Californian outfit released their latest album, Noble and Godlike in Ruin, earlier this year

The wonderful incongruity of Matsuzaki’s voice is Deerhoof’s calling card, and she uses it to pull everything together into a sound that is uniquely theirs.

The set is a joyful, frenetic stomp through songs from their latest album and a sprinkling of classics.

They’ve mined the archives as far back as 2008’s Offend Maggie, but it still sounds fresh and vital, and their romp through crowd-pleaser Milk Man shows them at the height of their powers.

Seeing this much-loved band up close in such an intimate environment was a special treat for longtime fans

The show culminates in a psychedelic barrage on loop, and one final attempt at the Miracle Man call out, then poof, into the night they go.

It seems unlikely we’ll see Deerhoof here at Strange Brew again: but what a triumph this was.

All images: Lucy Langley-Palmer

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