METHODS, The Clarendon Hotel, Wolverhampton - review
On a bitterly cold Saturday night, METHODS warmed up roughly 100 of their nearest and dearest in The Clarendon Hotel, Wolverhampton.
They were in the Chapel Ash pub for a delayed launch of their debut EP Anything, released in October, after the original venue fell through. And they were clearly keen to celebrate their hard work with those who had been with them from the start and probably offered a lot of moral support through tougher times.
It was a sticky, sweaty room packed with bodies before they even took to the stage, with Birmingham's Paper Buoys already having provided a support slot with their uplifting brand of throaty indie-rock.
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The pre-set playlist was on fire. Kraftwerk's Trans-Europe Express, Joy Division's Transmission and Kate Bush's Running Up That Hill all had heads bopping.
And then, much like we praised Dublin's Fontaines D.C. for in Birmingham on Monday night, METHODS entered the fray with the most no frills entrance you could ask for. They levitated on stage with no grand announcement, no flourish, just a 'let's do this' attitude.
They opened with 2018 single Mankind. It hit you straight away the quality of the sound system for a small room above a popular city inner-city pub. The drums from Pete Bates sounded crisp as Jon Nash's keys swirled invitingly, making the room sound a lot larger than it is.
Collector came in next and the true spine-tingling nature of Adam Hall's basslines began to shine. Vocalist Ash Bradley is always so passionate about his band's work, and he swung into life for this number with his distinctive delivery.
The crowd woke up too for Fires, another previous single that sounds even more heartfelt and emotive live than it does on recording with that wonderful rising chorus that filled the room with joy in time with their bright bar lights behind them.
Bradley, bursting with pride at playing their home city like this, started to declare his love for the place when the crowd broke out into an impromptu rendition of 'Hi Ho Wolverhampton' which brought laughs from the rest.
It made the opening line of Human Existence even more poignant - "Do you know where you came from?"
Clearly, Nash was wrapped up in the moment as he missed his cue, making Bradley mockingly throw his hands skywards while bellowing "Absolute s***". [EDIT: The original review claimed it was Bates, but this is not the case as the band have now confirmed on Twitter.]
When the tune was done, ironic cheers greeted Nash which he waved away with a grin.
The excellent Back Of Your Hand sounded every bit as good as it should have as Bradley really powered through the chorus, and again the boys showed how much fun they were having by forcing guitarist Ryan Deakin to chug beer on stage as the audience goaded him on.
They left a treat for last, too - the upbeat No Cover with those jinking synths closing the party with aplomb. With the room really starting to push the mercury through the ceiling, it was good to see METHODS' final fling go the same way.
An emotive evening for them, they hit the right notes, (well, mostly Mr. Bates) and their family and friends certainly put some cash into the pub as the beers flowed.
As they vacated their space, the PA kicked back in with Gary Numan's Are 'Friends' Electric? With the sound of Nash's synths still ringing in our ears than yes, they really are.
