Photo + Words: Kathleen Sullivan
The cobbled yard was swarmed with cider clutching fans while a DJ set rang out across the outside space. Sidney and Matilda shone in the late afternoon sunlight, and it wouldn’t be long until Wyatt took to the stage in the Factory, their set the final of eight facilitated by Private Regcords. It was at this point that my friends and I decided to weave into the crowd, catching a taste of bands such as Contrail and Substandards. The room itself was small, with a seemingly intentional roughness – a stage sat at the front, with the crowd curving around it, feet moving across an increasingly sticky floor. Anywhere was a good view, and an even better dancing spot.
By 9:00, energy was high and anticipation for Wyatt’s set was building. The band began to enter the room, collecting by a wall to discuss the setup. It was at this point, I cooly approached (or was forcefully propelled by my two supportive friends, depending on which account you believe) to ask for a few words after the show. Emily Mason, (trumpet, acoustic guitar and tambourine) was the epitome of welcoming – she soon introduced me to the other band members, all equally friendly, and it struck me how easy it was to converse with them but also their own evidently tight bond – something that would shine as their performance unfolded.
Clad in jeans and T-shirts, the band took to the stage. Sound checks got the crowd smiling, the room now packed with excited spectators. The set opened with the punchy All You Need and the apt lyrics welcomed the crowd back into [Wyatt’s] fold. It solidified Harvey O’Toole’s (vocals, guitar) vocal ability, his characteristic gravelly sound confident as it raced alongside the fast-paced guitars and Joe Ward’s (drums) driving percussion. The band then softened their sound, as they moved into the next song, Morning. With a cooing introduction and chatty bass guitar, it carries the listener along – the crowd eagerly tapping in time to the steady percussion and beginning to join in for the catchy chorus. Emily’s trumpet playing made its first clear appearance, something the crowd excitedly cheered, and would only love more as the songs continued.
The band’s bond soon began to show, with Evan O’Toole (bass guitar, vocals) and Harvey conversing as they prepared for the next song. The small interval, as the pair checked their guitar tuning, became a crowd-pleasing moment as Emily lulled us all with her trumpet, aiding with the set’s smooth success. It also hinted at their cohesiveness as a group; their shared laughs and friendliness was also supported by the more tangible ability to quickly read one another during the performance.
Holy Ghost was bolder and explicitly alternative country – rich guitars, clashing percussion, and Harvey’s vocals, guttural, as he spat the direct address lyrics at a head-banging audience. Speaking with Harvey after the show, he talked of the reluctance to commit to a genre, commenting on the influence of the transformative artist, Wilco, on him and his brother, Evan, growing up. He perhaps noticed the pause as I attempted to remember some of my key notes for what to say next, and joked about how without the other band members, he feared they could venture into Wilco cover band territory. I replied, that without doubt, they’d be a very good one.
However, this led me to later mull over Wyatt’s sound. Comparison to Wilco or MJ Lendermann may be an apt observation, but there is only a similarity of overlapping genre or, more importantly, an established and confident sound, but ultimately, Wyatt are Wyatt. Their performance style and songs are infused with their personality – them and the music, it’s a package deal. Harvey’s comment only confirmed my belief of the band’s versatility, something supported by the important contributions and musical influences of all members as the quartet continues to develop.
Holy Ghost, while it was forceful to begin with, only continued to build! The audience, very much including myself and friends, were completely animated – feet slamming the floor, drinks clutched tightly, everyone mastering their own dance routine. The band themselves were the catalyst for such a reaction – consistently pouring all their energy into each song. Rocking with their guitars and playing almost mischievously alongside one another, their faces were high with the enjoyment of sharing their music. It was already overwhelmingly clear that they were masters of the live performance.
This ability furthers the band’s individuality, especially when paired with their demos all being live recordings and only available on Bandcamp. In conversation with Harvey, I queried whether this choice of recording style, and platform perhaps arose from a dislike of permanency – the band’s wish to experiment with sound a recurring theme. He acknowledged this and also spoke of the essence of a live performance, noting how being a good live band and a good studio band are two very different things. I was, and still am, unsure as to whether he realised quite how electric the group are; their demo recordings of previous performances are undeniably powerful, but seeing Wyatt on stage is a real reminder of the brilliance of raw live music.
The next song, Favours, had a softer start, Joe’s percussion effectively entering with shaking symbols. The guitars relaxed and Harvey’s vocals shone – syrupy and soulful. Emily’s entrance on trumpet signalled the beginning of a build of tension, effortlessly leading into a desperately repeated I’m asking, to which the crowd waved along to, shoulders shyly moving before launching into greater movement as the gravel and guts returned in the song’s latter half. Favours came and went – emotionally charged and heartache fuelled.
Frequently featured in their live performances, Long Song, launched in with a more punk-esque scratching start. Percussion and bass were emboldened, with Evan’s complimentary vocals yet again adding another layer to the band’s tracks. The song was one you couldn’t help but throw yourself into, heavily aided by the band’s infectious energy. By this point in the set, Wyatt had the crowd transfixed. Cameras had been flashing and the buzz was almost tangible – the group were near the close of a triumphant return to the venue.
Harvey took to the mic, his comment, This is going to be our last song, met with shouts of dismay. While I had loved all the songs, I had, like many fans often do, been hoping for the group to perform my favourite one. Sat in my files app, the product of a Bandcamp purchase – Hole in My Heart is a record I have played far too often (although, truthfully, I doubt that’s possible). So, when the audience quietened and the first line, The roads are all quiet like somebody died, echoed around the room, I think I rather lost all journalist nonchalance (if there was any to begin with), and sang happily along. I have previously written a piece on this song – noting parallels of love and heartbreak to medicine, oxygen, energy and so much more hidden within the complex lyrics; but in truth, it’s difficult to adequately describe. Harvey’s vocals are powerful, an impassioned story-teller as he delivers the lyrics.
Linking back to our conversation regarding genre, I wonder as well, if the band may fear the depth of their music might be lost if placed in one box. With the narrative lyrics reminiscent of old Irish airs, and guitars sometimes leaning more into punk or Indie Rock, it’s difficult to pin them to one style, and why should this be the goal? Emily’s trumpet in Hole In My Heart almost sings itself, ethereal and pining against the other steady instrumentation. The collision of so many styles is what makes the music so addictive and the live performances so memorable.
So, as the gig finished and the crowd shouted their final cheers, the room began to empty. I stood to the side, unsure whether approach the band. When Harvey made the time to approach and talk to me, I was yet again impressed with just how, well, nice the band are! Evan later joined the conversation and it was one I wished could have lasted longer, especially after flicking through the notes I forgot to talk about, but also because it was just so easy. The group handed out free CDs, with mine now on repeat in my car.
Tramlines Fringe was a free, grassroots music event, and allowed for us, the lucky audience, to see such brilliant sets. Wyatt were, if you hadn’t guessed, my highlight of the night. I later questioned this idea of permanency, and the group currently preferring platforms such as Bandcamp that allows them to easily remove or edit their music as opposed to having it leave a defined and permanent footprint. However, Wyatt, even if they doubt their wish to do so, have left their mark – the demos are supported and loved on Bandcamp and their music is now about to find even more fans as they embark on their tour supporting Westside Cowboy. And, if nothing else, I’ll make sure their CD always sees the light of day – unlike the dying light in Hole in My Heart, Wyatt are shining bright – and I am confident of their continuation on this upwards trajectory.
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