First of all, do not get the mango infused or house beer if you ever go to night & day as they’re really not nice. The mango has redeeming qualities like it smells nice and the initial taste is alright, but the house beer tastes like piss.
Walking into night & day is like getting let into an artist’s mind. The walls are plastered with posters, murals, and graffiti, whilst the celling has two mirror balls and dangly orb things. Nothing should go together but it does like organised chaos. Also, an unidentifiable smell of ciggy smoke monitored the air but that could have just been the men stood at the bar beside me. A range of music plays through the speakers from Talking Heads to Squeeze then a soul number I can’t quite place.
Normally, I listen to the support before I come to a gig but this time, I did not realise there was any till I got to the door. Housewife are a pleasant surprise. Sounding like a mix between Boygenius and No Doubt with poppy undertones. The vocalist is similar to the vocalist from Beach Bunny but with more rasp to it which adds to the lyrics. As well as lyrically similar themes to Beach Bunny yet gives a refreshing take and with the way Tik Tok boosts the “Hyper pop” genre they could be next to blow up. The harmonising between lead vocal and backing vocals is on point not missing a note. Crowd work is their forte interacting and getting them involved which not many supports attempt. The lead guitarist is in their element sounding very “shoegazey” with the effects and looking like they enjoyed their self, not being able to keep their shirt on at times. The rhythm system being really tight not missing a trick especially the drums keeping it all together.
The lights go down and “My Sharona” by The Knack gets played as both Orlaith and Mollie argue about who goes on stage first. The band sounds amazing all on top form as “Stamp on it” ring through the ears of the crowd who love every minute whilst every member show why they are there. Vocally both girls are unreal switching from lead to backing vocals without a hitch and the ability to harmonize together is that off Nicks and McVie’s level. The ability to toy with crowd is evident as they both have us under beck and call having everyone sing along to both “stuck on you” and “Did nobody ever love you.” Talking to the crowd is frequent throughout even if there was a knobhead trying to hoard all the attention for himself. Its not easy to take a Prince cover and make it your own but Dea Matrona’s version of “Kiss” takes the song to the basic elements and gives a raw take with the sensualness of the original still intact. The transition from “Wilderness” into “Nobody’s child” is godly showing music wizardry. The hold Orlaith has over the crowd whilst she sings “Oh Well” by Fleetwood Mac not allowing a word to be said during the breakdown within the song. The ability to smash a cover as well as making it your own isn’t easy but Dea Matrona do it with ease even making “Murder on the dancefloor” by Sophie Ellis-Baxtor which has had a recent lease of life totally their own putting a rocky spin on it. “Glory, Glory (I am free)” meant the drum and other guitarist drop to the wings allowing Mollie and Orlaith to show off their acoustic capability with making the basics appear massive. The cowboy hats come out to a big applause during “Dead man’s heart” giving a country ditty shaking the setlist up a bit giving the ears a refreshing sound. “Every night I want you” has always been a favourite of mine and seeing them play it live sets it apart. A love song that is so different from any other and vocals are even more delicate in person.
Dea Matrona are a live band like forefathers and mothers of rock were before them (unless you’re The Beatles). Even though “For your sins” blew me away with their fresh take on rock, to hear the music live has put it on a pedestal showing Maneskin and Greta van Fleet how it’s done. Showing you use century old ideas but can make them your own.
