peek at the audience and grab their guitars. The Geordie crowd are certainly aroused when a certain
Miss Foo takes to the mic and this rarely subsides throughout the band's set. What strikes me about
this band is their rather nonchalant and straightforward attitude to gigging. It's as if the whole world has
stopped spinning and the band are completely unaware. The band don't clamour over each other
gagging for attention and although it's hard for boys and gals to take their eyes off the enchanting Foo, it
is through this straight-up way of playing that the band prove they are the most uncontrived band out
there. Despite often being lumbered as another 'the' band, The Ravers prove they are light years ahead
of other contemporary bands through a) their unique retro-themed approach to their music and b) their
attitude of working the crowd by not working the crowd.
The band don't jump up and down in order to get a reaction. It's not that the band don't care about their
audience, they do. They just don't care for the scene's often pretentious and clichéd shenanigans and
for that, The Raveonettes deserve your respect. Because, they don't demand it from you.
reminiscent of Nina Persson from fellow Scand-band, The Cardigans. However, Foo is the sexier, cooler,
wickeder version. Her vocals are often breathless and dreamy and compounded with Wagner's equally
delicate with a touch of raucousness vocals, The Ravers' formula is overwhelming. It's quite surprising
that these guys are not the biggest band out there. However through this extensive tour and the release
of Pretty In Black, world domination seems a hell of a lot closer. They are a new, much-needed version
of the now defunct The Anniversary, but come doused in lashings of lemon and a bucketful of ice.
Halfway through the set, Foo introduces their rendition of 'My Boyfriend's Back.' One heavily-built
Geordie standing near me declares to his friend, "Damn, man! The song's about her boyfriend! She's got
a boyfriend!" I swear I saw a tearful mist sweep over him.
and drummer Jakob the chance to shine and demonstrate how jazz is the best form of training for any genre of music. Jakob is clad in black and
spends most of the night drumming with his eyes closed while AC wears his trademark convict-style jumper and hunches over his bass all night
and seems to be talking to it. Wagner and guitarist Manoj work smoothly together and are bang on with their use of distortion effects and pedals.
It's complimentary and never excessive to their sound. Manoj is also exciting to watch. He's energetic, good-looking and unique in the way he
mouths along to all the words but seems to be singing something entirely different.
However, for me, Wagner is the most exciting to watch. He just floats in an aura of coolness on stage without seeming arrogant or a try-hard. How
the hell does the man do it? He spends the night shifting between Manoj and Foo but somehow grabs your attention in between them in the middle
ether. He stares above the crowds' heads at the back wall through most songs such as 'Heartbreak Stroll' and 'Love in A Trashcan.' Like a good
little boy at his first public-speaking event, Wagner's introverted style makes him all the more watchable and confirms he is rising up towards the
mantle of the new Robert Smith. Unique, talented and quirky-handsome.
Wagner Wonder The Songs
SSS Verdict: Genuine rock with a capital 'G.'
Highlight of the night: Manoj kicking an idiot punter off stage
Lowlight of the night: Would have been nice to hear 'Remember.'
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Review by Dee Sekar and photos by Jenny Hall
unless otherwise stated
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