Wu Lyf
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@ Heaven, London, 22 March 2012
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by Andy Baber
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Wu Lyf are something of an enigma. They remained out of the public eye for so long and built up such a notorious reputation for refusing interviews that it was hard to know what to make of the Manchester quartet. Yet, despite their unique anti-promotion and shunning of the typical new band route to success - even self-producing and releasing their debut album, Go Tell Fire To The Mountain, through their own L Y F recordings imprint - Wu Lyf have very quickly established themselves as one of the most important new bands in the UK.
All the mystery and anonymity surrounding the four-piece only created more buzz ahead of their final UK tour date and second sold-out night at London's Heaven. There was genuine excitement to see just how a band with such an unconventional sound would translate live. However, any doubts were quashed within the opening burst of Ellery Roberts' raspy, throaty vocal, which sets the band apart from any other around right now. It may be largely unintelligible, but Roberts' vocal has an unbelievable power and intensity that - if possible - sounds even better live than it does on the record.
The band's gloriously enchanting guitars and soaring organ provided the basis for Roberts' vocal to take precedent, with his distinctive howling affording an almost cathartic experience. Songs such as Cave Song and Summer Bliss were engrossing, with Evans Kati's chiming guitar complementing Joe Manning's thumping drums, while Tom McClung "slapped the bass", as Roberts aptly told the crowd.
Another highlight of the evening was the incredible Such A Sad Puppy Dog, the slowest number from Wu Lyf's debut album. There was something intoxicating about Roberts during the song, as he stood sideways to the crowd - almost guarded - while he bared his soul through his stunning vocal. As the organ creeped in that voice took centre stage, with the entire crowd joining the frontman in chanting the opening refrain of "My baby / my baby's got no words for me / you know my brothers in jail". It was quickly followed by the more rigorous and fan-favourite Spitting Out Blood, with further tribal chanting coming to the fore.
If there was a slight awkwardness about the quartet when they weren't playing, then they seemed at complete ease during the songs, throwing themselves into each number with vigorous abandonment. After a robust version of signature track Dirt, the four Mancunians launched into the majestic Concrete Gold. Whether it was caused by the unquestionable beauty of one of the most underestimated songs on the album or the heavenly-lit Wu Lyf symbol in the background, there was a strong feeling of almost religious togetherness between the band and crowd. The quartet were clearly enjoying themselves and so was everyone else.
With the end nearing, Wu Lyf powered through the massive Heavy Pop, a suitably passionate close to the main set. After finishing, the band took a moment to soak it all in before heading off stage. When they returned for their encore there was an almost party atmosphere ready to welcome them back for one final onslaught of thrilling energy. Roberts introduced the final song with a wry smile, saying: "Here you go, here's what you paid you're money for," before the quartet - also accompanied by support act Flamingods - launched into an epic closing version of We Bros.
It's incredibly rare for a band to sound better live than they do on record, but then Wu Lyf aren't any ordinary band. Wu Lyf are a band of extremes. They are uncomfortable with giving much away, but at the same time, their music is so emotionally raw. It's this contradiction that makes them so very special. And whether they like it or not, music needs them.
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