This Wytches article was written by Aimee Robinson, a GIGsoup contributor. Edited by Macon Oxley
It only takes three songs and a mosh pit has already opened up, as the crowd go wild, energetically thrashing to Brighton-born band, The Wytches. The past year has seen these guys go from strength to strength after the success of their 2014 album ‘Annabel Dream Reader’.
The first date of their UK tour, and the band are faced with a sold out show at Leeds’s Headrow House. And similarly to the newly opened venue, The Wytches are a band who are cool without evening trying.
The mood is electric in here and an eager buzz has infected the crowd. In a flurry of black hair, silhouetted by pink and blue lighting that shines out from stained glass window style lights, the band open up with a new song, ‘C-Side’, before bursting into ‘Wide at Midnight’, which throws the crowd into an outbreak of excitement.
Their sound remains consistent: a hint of early-’90s grunge and melodic adroitness, accompanied by a flurry of screaming vocals, but with a new element of organ added by returning live member Mark Breed on keys.
Tonight sees the band’s first live performance of ‘Dead Night Again’, as they test out a handful of new tracks alongside clear crowd pleasers, ‘Gravedweller’ and ‘Wasteybois’- an aggressive new song from their August 2015 EP, ‘Thunder Lizard’s Reprieve’.
The louder a track is, the more pleasure emits from the crowd, signalled by a chaos of shoving and an apparent constant stream of fans making their way to the front to dive from the stage into the mass of rampant anarchy. A clear highlight of the night, ‘Beehive Queen’ erupts to life with a crash of percussion and immediate enthusiasm upon the first chord. In a burst of perfect timing, the density of the crowd’s size seems to double as Bell bellows out the lyrics “and it was crowded/so I was leaving”, as the pit circle begins to expand.
The tone of the night is slowed somewhat for the melodic ‘Summer Again’, as angst-ridden vocals, “I undid your dress/you climbed up my jeans/we went for each other/still with no means”, make their way out to the crowd and change the mood to one only understood by that first unfair teenage heartbreak.
However, the band’s gritty intensity soon makes a comeback with the explosive sounds of ‘Robe 4 Juda’, as the once self-proclaimed “surf-grunge” foursome hype the crowd back up for their final few songs.
Bell’s guttural vocals, alongside the band’s skilled combination of rhythmic tones paired with anarchic energy, clearly show that their on-stage prowess is a huge player in the accomplishments of the band.
Even once they have left the stage, it seems the electric buzz this band have created isn’t going to die down for a long time.