Thee Mightees

Thee Mightees


When you finally get to see two bands you’ve been listening to for months, it’s hard not to be somewhat starstruck when the frontmen are running the door and queuing next to you at the bar respectively. Big Hands takes the small venue dynamic to another level, with no noticeable backstage area and the stage effectively being the back seating section of the pub with all the tables and chairs pushed to the side, like a children’s party in a church hall. As a setup it works so well you don’t even have to leave your seat to watch the gig and with band members seated at various intervals around the place, the mood is inherently relaxed. This suits tonight’s headliners perfectly as they prepare to release their second album Glimmer, a follow up to the debut effort ‘Smiling’, a collection of songs which showcase a knack for writing instantly catchy chord progressions backed up by clean riffs that wouldn’t sound out of place coming from Roger McGuinn’s guitar on a Byrds record.

The Bellybuttons from Glasgow kick off with the opening track ‘Why’ from their Nostalgia Factory EP, a song whose bassline is almost as infectious as their bass player’s eye catching dancing. The fact he doesn’t stop moving for the whole set is a testament to the kind of music they are capable of producing, which sounds as if the Jesus and Mary Chain fused their lyrical delivery with the grooves of the Happy Mondays. It’s a fascinating mixture of styles that leaves me wondering how long it will take before they start to receive the acclaim their originality deserves. Each member is a vital part of the sound and the four piece are a remarkably polished live act, held together by some of the best live drumming I’ve heard for a while. The Bellybuttons are a truly exciting new act and clearly have potential for greatness judging by their current offerings, the two EP’s Play and Nostalgia Factory.

What Thee Mightees lack in comparison to The Bellybuttons stylistic experiments, they more than make up for in their song writing ability. Every track they play has lead single prospects and from watching the band it’s obvious their enthusiasm for playing matches that which is presented in their music. Thee Mightees aren’t out to break the mould and this is no bad thing, as their take on indie pop exemplifies a band who are simply out to do what they love, play music. This is furthered when you consider the band released their debut on Delicious Clam Records, a Sheffield based label who openly admit not to make any profit but simply do it to keep up the new music scene in the Steel City.

It’s refreshing to see a band play a set littered with an unashamed pop sensibility. The guitar riffs are infectious, the rhythm section parts are simple and a perfect complement to the music. The drummers head remains constantly bobbing to the tunes for the duration of the set which is no surprise, as it feels almost mandatory to at least tap your feet whilst listening to Thee Mightees. Highlights include ‘Awkward Dreams’ and ‘Shining Sea’ from the first and second albums respectively, showing the band have seamlessly transitioned from their first record to the new one. There’s no song that sounds out of place and no odd experimentation with new instruments, Thee Mightees clearly know what they’re good at and have continued to produce some genuinely fantastic pop songs. Fittingly for an album release show, tonight feels like a celebration of a band who know they’re onto a winner.

Thee Mightees  Facebook | Bandcamp

Matthew Bellingham

As an English Literature student it seemed almost a prerequisite that I should pursue some form of writing, so apologies for any undergraduate pretentiousness that is detected. I try to catch concerts in both my hometown of Manchester and my adopted University hometown of Sheffield. I started regularly attending gigs as recently as 2015, and since then have continued to turn up as frequently as possible. Personal highlights include Horsebeach's debut Manchester show and Eagulls' gig at the Broomhall Centre in Sheffield.