Is guitar music dead? It’s easy to understand why that argument continues to rage on when there are bands like Felt Tip and The Traps knocking about.
In a market that many consider saturated at best,and completely finished at worst, it’s vital that bands and artists do something, something, that’s going to set them apart from everyone else.
And so when Felt Tip front man James Tyler ambles onto The Lexington stage on Friday night dressed in a blazer and winkle pickers, wearing his best Morrissey style, sullen grimace, I can’t but think, “Here we go again!”
The Traps Live w/ Felt Tip
Supporting sizeable Birmingham outfit The Traps, tonight is a chance for Felt Tip to expose their sound to a decent crowd at one of London’s most prestigious venues.
Their opening number offers some predictable jangly guitar from Anton Trampon, supported by Tom Rapanakis on drums. Tyler, front of stage, continues his Morrissey impression as his melodies fall flat on the The Lexington’s floor. Luckily, the opening of the set is saved by some energy from Rapanakis on drums and I realize that I’ve been staring past Felt Tip’s ‘front man’ and watching the performance behind the kit.
It’s not until recent single ‘Milk & Honey’ (out now on Giant Haystacks/Fierce Panda) that I am woken from my slumber. Backed by deep drums and a pulsating bass-line, Trampon’s guitar is at once angular and stuttering, yet melodic and memorable. This is their best work and Tyler knows it. Now, performing their most interesting song of the evening, the impersonation of front-men-past is gone. There’s a swagger at center stage. A swagger from a real performer. “Give me milk & honey / I want something for nothing this time” demands Tyler with the aplomb that befits a lead singer in modern rock music.
At their best Felt Tip produce sparkling, accessible and groovy post-punk. However, much like the jacket that adorns their dour front-man, Felt Tip are a little too beige.
After a frustrating and uninspiring opening act, The Traps’ Jamie Berry strides out at The Lexington for their headline slot. Standing at (at least) 6”3, he’s an imposing figure; one that commands the eye. However, when the music starts it’s brother Nick’s bass that is the focal point; undulating and tumbling. There’s enthusiasm and power on drums, too, the deep kick reverberates in the chest. It’s a rousing introduction from a band that seem to take the job seriously.
With their tidy guitar riffs and uplifting melodies, The Traps are not too dissimilar to All That You Can’t Leave Behind era U2. Jamie Berry even adopts a Bono style two-handed grip on the mic stand.
After a stirring introduction, one song begins to blend into the next and suddenly I’m struck by the fact that I’ve been gazing around The Lexington for the last god-knows-how-long. There’s nothing in this set to grab hold of the audience; nothing to draw us in.
Eventually, I’m brought back to life by upcoming single ‘Imposter’. Guitarist James Minhas steps hard on the delay pedal as the track throbs and bounces around the room; there’s even some genuine reaction from the audience! It’s the first point in the performance that separates The Traps from a better than average wedding band. Everyone’s happy, but no one’s excited.
Returning for their encore, Berry and company are joined by saxophone and trumpet; breathing some much needed life into an otherwise sterile performance.
It’s a difficult time for a lot of guitar bands; each one jostling for ways to break into the public’s consciousness. Well practised, tight and enthusiastic, though they are, seeing The Traps live shows that they just don’t have the songs.
