Sometimes you wonder how bands form with people coming with differing instruments, influences, tastes and personalities. But they do, fortunately. And then how is it that they can sound so good together? And when there’s more than one singer, how fortunate is that when they supplement each other and harmonize perfectly?
So it is with Georgia Fuller and William Turner who, as The Heavy Heavy, blow it out of the park. On the heels of the September release of their debut album, One of a Kind, they are headlining their own tour of the U.S. They must love touring and love the U.S. because this is their seventh trip “across the pond” in the last two years, prior visits supporting other artists or at festivals.
One of a Kind is quite an album, loaded with not just the retro reverb so often heard these days but more importantly by their influences and song structures themselves. The songs aren’t just a “here’s the riff and melody and let’s play.” They feature strong guitar lines, solos that flavor rather than over sauce, a hard driving and melodic bass, keyboards that accentuate, drums that don’t demand attention but do because they hit in all the right places and take the appropriate time that each song needs to express itself. Then add to that what Fuller and Turner do vocally, it’s fine stuff.
Cited as sounding like or being influenced by the Stones, Fleetwood Mac, The Mamas & the Papas, Jefferson Airplane and others isn’t wrong. They play to a soulful and rocking 60’s early 70’s vibe. t’s not quite right either. Elements of those artists are recognizable, but the band has its own vision and voice which portends to larger audiences and venues ahead. While the recording is great – and intentionally crafted to bring out some of what they do live vs. singles they’ve released over the last couple years – their live show is even better.
Some of that is volume. For a band that can be folksy or trippy, they’re quite comfortable in full rock concert mode. But the greater part of the experience is that Fuller’s voice is free of a studio mix and better heard. It’s hinted at on their recordings, certainly, but at times it’s “just” a background vocal, even if appropriately so. In concert, Fuller is the live wire of the band, partly because of her dancing and interaction, sure, but also because her vocals are amazing (tone, nuance, range and strength), both when complementing Turner or on her own.
The band began with a lengthy instrumental section for “Salina,” a fine closing track on their new album. It set the tone for what was to come. Grooves, lots of them. Their “sound” is consistent, but they do so much with each song.
If I followed the track list correctly, “All My Dreams” was a standout mid-set extended piece that could/should have just continued through the evening. With songs as well-crafted musically as they are, it shouldn’t be a surprise that the band crafted a deliciously trippy live centerpiece as well. Stellar.
There were plenty of highlights, whether “Man of the Hills” or Turner’s Robert Plant-ish “ooooooh” phrasing in “Dirt.” They need more material, but they’re arena ready when their audience finds them.
It was an awesome show, and even at 1.5 hours all too brief. Kudos to the house lighting for an active and colorful showcase that suited their music well.
The band will sign and chat after the show. Do that now while they’re still playing approachable stages. Note that the band is so retro that they even have CDs at their shows, plus a poster, shirts, hats, etc.
Paste magazine has a splendid interview with the band for those that are curious about them.
Setlist:
Encore:
Opener Early James brought his own set of fans for his blues, folk, alt-country blend of songs about the human condition with a wholly suitable southern/country accent. He’s got an easy manner, a guitar style that matches his voice and is said to have a sneaky sense of humor. From Troy, AL, he’s opened for Drive-by Truckers and The Black Keys among others and records for Dan Auerbach’s Easy Eye Sound label.
