Review: The Joy Formidable @ Manchester HMV Ritz, 28/02/13

Famed for their full throttle cacophony, their sophomore adopts a more cordial edge in places but still employs the ‘big is better’ viewpoint when it comes to clamour - with turning it up to eleven a standard in their book.

And it seems they know something about putting on a visual marvel too. Drummer Matt Thomas proudly sits with a Herculean sized gong behind him along with two electronic drums and a set of bells – no half measures here. Adorning the stage, in keeping with the title of the record Wolf’s Law, is a mammoth wolf’s head which cleverly doubles up as a projection screen and lights up spectacularly with neon lights throughout the set.

Gracing the stage to eerie howling, the band's latest single ‘Cholla’ provides the first foray into their abundant sonic boom. No holds barred; it’s clear to see that they’ve been doing the rounds, opening for the likes of The Foo Fighters and Muse. In a similar ilk, they’re full bodied and stadium-esque in their output and relentless enthusiasm.

Effortlessly amalgamating The Big Roar’s hulking sounds with their new material; the likes of ‘The Greatest Light Is The Greatest Shade’ shone in a haze of electronic glory, with every guitar rampage heartening the rowdy crowd. ‘Little Blimp’ with its curtailed vocal and generous bass is offset with a heavy barrage of electric interjection from Bryan.

Front-woman, the delightful Ritzy Bryan, is quite the juxtaposition in fact. Resplendent, doe eyed and ethereal; but swearing like a trooper. Giving her male peers a definite run for their money in the vitality stakes, her big eyes are constantly aghast whilst thrashing the guitar about the stage. She’s not afraid to speak her mind either. In the same vein as the great Grohl, on seeing a scuffle break out in the moshpit she well and truly read them the riot act “If we’re not family in here then fucking hell, what’s it going to be like out there?” Laudation naturally ensued.

Whilst they’re not best known for their more reticent manifestations, ‘Silent Treatment’ offered a delectable moment of serenity. The ode, appertaining to trying to maintain dignity in a failing relationship, had the boisterous room in silence, allowing for the acoustics and exposed vocals to resonate wholly.

First album favourite ‘Whirring’ (in all its 6 minute glory) was, as ever, their ace card - and how they chose to end things. Well honed, and by now used being lambasted out in far bigger venues, it proved to be an audible storm. Every last ounce of energy was thrown into it and quite how Ritzy has any fingers left after that assailment of the strings, I don’t know. Steeped in razzmatazz, lauded with pedals and ending on a single strike of the gong, it served as the perfect climax to what was an all- consuming, visceral set.

Words: Michelle Lloyd 

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