The Joy Formidable, Black Cat Backstage, Washington DC

The Joy Formidable, on their second tour ever of North America, make a stop in the Nation’s Capital on a cold Thursday night. They have their work cut out for them, as they’re scheduled to play on one of the smallest stages in town, Black Cat Backstage. But frontwoman Ritzy Bryan, her platinum blonde hair in stark contrast to the little black dress she’s wearing, is not anxious at all. Turns out Washington was her home in the not too distant past, and she feels as it is a warm homecoming, with many fond memories of the city. Similarly, the band’s first gig appearance in DC is so blistering, it will no doubt be etched fondly in every gig goer’s memory.

Before the band are allowed onstage, their conscientious tour manager is careful to secure any loose wires with Gaffa tape - a good decision as despite the relatively small size of their playing area, Bryan and bassist Rhydian Dafydd make good use of what space they do have, bouncing back and forth across the stage tumultuously. Their first song of the night is ‘The Greatest Light is the Greatest Shade’, one of the trio’s mellowest numbers, Bryan’s sweet voice shining like a beacon above the darker instrumentation. It’s a deceptive beginning because after that song, the Joy Formidable attack their instruments with such a frenzy that it’s a wonder everything manages to remain whole during the show.

Well, almost. After a particularly energetic version of ‘Cradle’, bassist Rhydian Dafydd’s guitar strap splits from his bass, requiring more Gaffa tape. Bryan, wide-eyed, jokes to the audience, ‘what’s happened? What’s happened? He’s split his strap. Again. How naughty!’ The audience laughs. Like a clucking, disapproving teacher, she says to Dafydd, ‘you need to take better care of your equipment.’ More laughter.

A major highlight of their set is ‘Austere’, with Dafydd’s memorable hooting and sultry bass line. At no point during their all-too-short set do the three ever let up or show any signs of their energy flagging. The audience’s dancing is full throttle as well, punters pushing each other in reaction to the powerful set they are experiencing. One fan shouts to Bryan, ‘this never happens in DC!’ Bryan grins widely, inquiring if Washington is like London, with its famously unemotional punters. But it’s true: it takes a special kind of performance - and band - to elicit such a spirited response in this town.

The set ender, ‘Whirring’, is in a class by itself, with guitars and Thomas’s drumsticks flying. The live version of the song is doubled in length with a searing instrumental outro. Bryan, not caring that she’s in a short black dress and lacy tights, is quickly down on her knees in front of her amp, forcing the feedback from her guitar to scream into the speakers, the crowd cheering her on. Perhaps her mum wouldn’t approve, but it’s so rock ‘n’ roll and anarchic. The Joy Formidable, you rock.