This ‘Hinds’ article was written by Ian Bourne, a GIGsoup contributor
Once someone has a reputation, it’s hard to get rid of it. And Hinds are four girls from Madrid with a reputation for stage invasions. Sure enough, two songs from the end of their hot and sweaty set, a dribble turns into a tide and soon they’re swamped, as the front of the mosh pit moves on stage. Generous to the last and hooked on having fun, Hinds declare it “the best end to a gig, ever”. The truth is the stage invasion happens at every Hinds gig, but usually after they ask for it. Tonight it’s spontaneous, like an earlier Mexican wave during ‘Garden’, a song with a great little riff and which ends with a self-conscious bass solo by Ade Martin.
Right from the start, the bond between Hinds and the crowd is what defines their set. It’s close up and personal. Singer and guitarist Ana Perrote tells us that they love this compared with the festivals they’ve been playing the last two months, where the audience is needlessly kept far from the stage behind barriers. This gig, the first at snug new London venue Moth Club, is as far removed from a festival set as possible.
Hinds nail it, despite dodgy sound mixing at the start. Opener ‘Warning With The Curling’ has barely audible lyrics and Ana’s kazoo hardly pierces the churning and deliberately lo-fi and spare guitar sound that marks out Hinds as queens of new garage. The fast-slow, stop-start rhythm is held tight by bassist Ade and always-smiling drummer Amber Grimbergen, while the sound quality gradually improves. Two guitars, bass, drums, two vocals and that kazoo. ‘Trippy Gum’ does more of the same grinding restraint before bursting out into an infectious “ooh ooh” chorus.
‘Fat Calmed Kiddos’ has another raucous dose of the trademark vocal interplay and raw guitar duelling between Carlotta Cosials and Ana Perrote, and a bubble gum refrain that sparks the first mad mosh of the night, before a big cheesy ending. The band speed straight into ‘Between Cans’, known by everyone as ‘Baby’ because that’s what’s repetitively chanted. Short, sweet and intoxicating.
“Everyone please make love,” says Carlotta as she introduces the upliftingly plaintiff ‘Easy’. The crowd by now are clapping along, utterly won over by Hinds’ unrelentingly cheerful stage presence and the chiming, charming riffs. Fan favourite ‘Bamboo’ triggers a step up in the moshing in front of the tiny stage, knocking Ana’s microphone stand into her face, with plenty of the young audience now singing along. ‘San Diego’ has sweet garage guitar that pierces the by now tropical atmosphere like shards while the lyrics promise beach party frolics.
Another great little riff in ‘Garden’ keeps the mosh going and from somewhere that Mexican wave starts to sweep back and forth. “I can take you dancing,” sing Hinds. Oh, yes, you can. The twisted proto-punk of ‘Castigadas En El Granero’, all single guitar notes sparkling and ricocheting off each other, is performed amid a throng of stage invaders before the anthemic closer ‘Davey Crockett’ sees just about everyone joining in with the repeated punkoid “gabba gabba hey” chant and churning hypnotic song title lyric. It’s a cover of a song by Thee Headcoatees, maverick Kentish cult garage man Billy Childish’s backing group. Hinds have made it their own. Hackney’s hip young things are left wanting more, but there’s no time for encores and everyone’s overheating, overdosed on the energetic foursome from Madrid.