To get our weekend off to an interesting start we ventured towards Harcourt Street to see Corner Boy play at Everleigh Garden and it has to be said that they put on a hell of a good show it must be said. With plans for a highly productive and eventful summer ahead of them you could determine from the showing here tonight that they don’t just have that hunger about them as a band that makes them great, they also have the music to back up that assessment. Getting it all underway here was ‘Sunlight’. Immediately there is an apparent vibrancy that sets in from the off. This gives the showing a compact feel that rises confidently and is matched by the ferocity in the tempo as everything is convincingly reined in. That notably concentrates the revelry in the performance by adding a necessary edge to it all. They added some further notoriety to everything with their version of ‘Jackson’ by Johnny Cash with their version carrying the same level of determination as the original. They then followed that up with an impressive showing collectively that saw them put their own spin on ‘Lonely Boy’ by The Black Keys. Apparent from the off is the presence but where it is distinct is the fusion of the folk elements because they add a bolder sensibility to everything.
Following that high end folk rhetoric came a folk medley that stirringly evolved the process as a whole. With the pitch of the violin adding to the pace significantly, the lean way everything was built here went the distance in a handsome and astute way that was rigorously handled. It neatly led into a full on version of the Dropkick Murphy’s classic ‘Shipping Up To Boston’. They nailed that too. But they are far from being a covers band. That showed in their next original ‘Ghost Town City. The keepsake calling is rather engaging. Here it allows a fondness to be carried across that lifts it through with apparent apparel. This is confirmed by the patient calling that resides within the careful distribution of the arrangement, while the sweeping bridge is also a real point of note. There is a knowing urgency about ‘Morning Morning’ which also gets everything moving in the right way. It incredibly imbues the delivery with a strong calling which they give a rather smart lift from how it is all managed. The narrowed calling alongside the considerate level of appreciation allows the vocals to also find their place superbly. All in all, how it is carried through impressively shows in resilient fashion.
With ‘Lets Hit The Road’ the darling showing is captured and shows from the opening. It is an effort that is firmly brought around with a knowing hint of togetherness. It is that closeness that sees things kept to a forthright approach that is neatly rich. Two covers followed. The first of which was ‘The Auld Triangle’ and carried through all the demeanour necessary, while their take on Simon And Garfunkel’s ‘Cecelia’ also had all the right touches on show to draw you in. It was then that the steady affair of ‘Kansas City’ saw their performance move to a more serious showing. They ground out the hardened aspects in a way that ushers everything in with a noted showing of weight. But the hints of ascendancy come to pass in a way that sees it find resolve in the tempo. As a result the running more than leaves its mark here.
From the soothing richness captured in ‘Black Is The Colour’ the dalliance is able to saturate the live showing in the right way. It was then followed by ‘Leaving Of Liverpool’ which again saw them situate the favourable qualities and capture the necessary level of determination. Three originals then followed to see them out and each one had a distinguished pedigree to them. First of this trinity was ‘True North’ and the dwell on the high affirmation. This in turn has a carefree way about how it is all carried off and is nothing short of a truly gifted tune. In the knowing sense of intimacy the distinction here abounds in a noted way. They also lay down a fine marker from how it runs. You get pulled in by the resolved vocals of ‘Go Soft Into The Night’. How they come to prominence shows here for all the right reasons. From the careful consideration everything is applied favourably. The comfortable delivery has a noted impact that is explicitly comfortable alongside the sharp running of the tempo. It is their closing number ‘Move To Paris’ that sees them superbly save the best ‘til last. From the high reach of the opening you make a deserved comparison with The Lumineers. That is paraded in the catchy hook of the vocals and it proceeds to become an earnest affair throughout. The diligence of the play tellingly calls the shots. The concentrated way that the soft bespoke qualities come to pass are highly referential and soothingly embrace both an indie sensibility alongside the folk elements. For that alone you appreciate what is on show here, but how it all comes together is a wonderful showcase of a band with an incredible amount of potential and ability.
*photography by Peter O’Hanlon
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