Savages – Live Review

Savages | Electrowerkz, Angel | 10^th October 2012

I was somewhat apprehensive upon realising that the venue for my evening’s entertainment was called Electrowerkz. I was, after all off to see Savages, the all-female post-punk four piece that burst onto the scene back in January. In May they released their snarling debut double A-Side Flying to Berlin/Husbands and have been on an acutely upward trajectory ever since.

Having met my co-conspirator for the evening, none other than one half of Youthfall

and stalwart of KLLKT Ed Paginton, a first sight of the curiously named venue awaited us both. Upon making our way down the street directly behind the Angel tube station first impressions seemed to bode pretty well. The route into Electrowerkz exposed what seemed to be a marvellously filthy ex-warehouse, consisting of an open central area with a bar and seating, the venue located above.

Having been seduced by a combination of the cheap cans of beer and a long overdue catch-up we found ourselves back out front in the smoking area as the door staff informed us that Savages were about to take to the stage. By this point, the dozen or so of us out front were initially sent to the regular route upstairs only for it to be declared by the staff that the floor was too full, redirecting us instead to a rear entrance.

As we made our way into the main room we realised that it was positively packed as far back as the sound desk with just a narrowed section of free space remaining. Having shuffled in a little and getting as decent a spot as we could hope for, only a few minutes of commenting on the layout of the room were allowed before the main event commenced.

Savages at Electrowerkz | Photograph by Carolina Faruolo

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Taking to the stage in a no-nonsense manner and almost instantly launching into their opening number City’s Full

, within the first thirty seconds Savages had the audience in the palm of their hands. The striking stage presence of lead singer Jehnny Beth leaves the room helplessly captivated as she stares intently in a straight line from the microphone, hunched forwards as if intent on channelling her every sentiment straight to the back of the room. The dramatically lit stage, featuring four large fans proves a suitably industrial setting for the raw, energetic and unapologetic set that follows.

The rhythm section of Ayse Hassan and Faye Milton dictate a hypnotic pace that quickens to fantastic crescendos and is punctuated by brilliantly timed breakdowns. This gives Beth and guitarist Gemma Thompson the perfect springboard to do their thing, the latter creating a Nick Zinner-esque wall of sound that fills the room. Thompson’s range and diversity is key to Savages’ variety and depth. She moves from stabbing riffs to expert manipulation of distortion and feedback, whilst never over doing it.

At one point Ed comments on just how tight the performance is and he has a fine point. The foursome are a polished live act and deliver their performance confidently and energetically. It is perhaps no surprise that their follow-up release to Flying to Berlin/Husbands is a four track live EP (released on Pop Noire

) entitled I Am Here featuring tracks performed in Nottingham and Bristol.

Savages at Electrowerkz | Photographs by Carolina Faruolo

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As the song that the crowd has been waiting for, Husbands is launched into, the audience whose attention has not deviated for a moment find one last hike of energy and respond accordingly. Little over two minutes later it’s all over and a packed Electrowerkz is left to ponder that strange feeling of confused euphoria usually encountered after emerging from a brawl in one piece.

For more stunning live photography check out Carolina Faruolos Portfolio Site

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