Camden Crawl 2010: Day One

London’s urban two-day festival the Camden Crawl kicked off to a rainy start with the weather forecast predicting light showers on Saturday and heavy rain on Sunday. However UK festival fever is well and truly in the air and as always it seems British punters are not about to let a moody forecast get in their way. A grey sky was merely a diminutive blotch on an impending musical foray that showcased up-and-coming talents from a variety of genres, ranging from the experimental jazz efforts of UK’S Leafcutter John to the flamboyant pop croonings and elbow arches of California’s not-so-surfy quartet The Drums.

Weaving our way down Camden High Street our wet journey was punctuated by regular Camden goers – some local and others not-so-local- until we found ourselves front row and centre at Blues Kitchen with a bevy of artists curated by Moshi Moshi record label. Spectrals and band wander on to stage and take to their respective instruments with an evident nonchalance and a hint of youthful innocence. Off stage Spectrals is a one man garage band carried by tonight’s lead singer Louis Jones. Jones is from Leeds and enjoys laid back breezy vocals and tunes that reminisce back to a 1950s school prom. The surprisingly packed crowd take to Spectrals especially the rather inebriated female whose pint of beer is not only unnecessary but loosely nestled within the grasp of her palm. A fan of the ‘old and real’ Spectrals create lofi, easy music that induces a slow motion swaying followed by a lazy yet addictive heap bop. Think Brian Wilson and Phil Spector.

Not far up New Young Pony Club were late to the stage. Tunes including ‘Chaos’ and ‘Optimist’ played from their new album of the same name. “We’re back all the way from 2007,” states lead singer Tahita Bumer as she bellows into the microphone. Less neu-wave and a little more moodier and post punk than the group’s previous offerings the audience were a little apprehensive; showing little excitement or vigor as the group did their best to top old favourites that undoubtedly brought the majority of the crowd to the Electric Ballroom in the first place. Although Bumer’s vocals are strong and consistent it seems she’s not too thrilled to be there, perhaps distracted by other thoughts? A seeming lacklustre lingers. NYPC’s trademark synths are still on show; however, the darker less sing-along songs were no match for their debut favourites and as if the band could sense the tension within the first 30 minutes party tune ‘Ice Cream’ begins to beam from the collective peripherals. The crowd finally rejoice.