FIRST SOLD OUT NIGHT IN LA FROM NEW MATADOR SIGNEE

The intimate setting of the El Cid on Sunset proved to be the perfect venue to house Matador Records’ new rising artist, bar italia’s debut performance in the city of Angeles. After a slew of sold out dates in New York, the UK trio managed to also pack out Zebulon Cafe and Gold Diggers here in LA. The band was popping on the radars of friends and myself all over social media, so it was almost inconceivable to not give them a listen. They were the ones being talked about seemingly out of nowhere. The month of June belonged to them.

My arrival at the venue an hour early proved to be the smart move; many fans hung around the open patio area and purchased merch while the stage was hit with a handful of fans eagerly waiting. In no time, the room was flooded with a sold out crowd, and the band mysteriously arrived on stage with little banter or acknowledgement of the audience. The fans however yelled and clapped in appreciation and members Nina Cristante, Jezmi Tarik Fehmi and Sam Fenton began their set.

The comparisons to early days of The Cure and Slowdive, to the drone-ness of My Bloody Valentine, the UK band very much so wanted to deliver a raw show. At times, I pictured myself in a scene of photographer Anton Corbijn’s biopic Control based on Ian Curtis and Joy Division. Owner of Factory Records (Tony Wilson) watches in disbelief as Joy Division perform with such angst and mystery. This made me feel like I was watching the next big thing, although that doesn’t seem to be anything left out when describing the band. Each member took turns on vocals, but Cristante captivated with the swaying and shyness reminiscent of a Hope Sandoval of Mazzy Star. It was an interesting blend of music style, with Cristante sometimes blending the sounds of Shirley Manson and Rachel Goswell while her counterparts offered up some Hot Hot Heat and Smashing Pumpkins. The music flows in a bossavona method yet can also be compared to the angst of King Krule. Maybe this is why people are so entranced with their debut.

Almost every intro to each song played such as “guard” and “punkt” had fans in applause as if they were going to crescendo the track into its finale. The music is delicate but indecisive, and the songs seem to end in interruption, like you yanked your earbuds out before the actual song ended. “Changer” was the track that stuck with me for the week leading up to the performance, so to see Fehmi sing with Cristante again like Goswell and Neil Halstead of Slowdive was lovely. Little lighting, little room for the music to escape from, and with their band turned to the audience at times, bar italia impressed with passion underscored by their need to object the fame and praise. After the set, the band immediately exited the stage and pulled up seats in the balcony as the audience demanded one more song. For a good three minutes, nothing happened until the lights came back up the filler music dispersed the crowd. It was a bit jarring to the casual fan such as myself, but with the idea of not really knowing who the band are and why they make the music they do, it added to the theme of their sound. Exiting the venue, Yves Tumor was ordering a drink having been in the back for the set. It was a historic night to see the band’s Los Angeles debut, and although the comparisons will presumably flood their timelines and the question of how much they love the band Pulp will be asked in future interviews, the trio are definitely in good company. If the band decides to stay shrouded in mystery at this time, then fair, but due to their talent as a trio, the cap will only stay on for so long.