Riverside & Lesoir, SWX, Bristol
The dark days of 2016 appear to be buried at last. A period of grieving and contemplation concluded, this was an evening where the ‘new’ Riverside showed their style, quality and commitment to making music. Full of joy, smiles and genuine excitement, this was a rebirth in all but name. A move to the bigger SWX from their previous Bristol venues (two previous shows at The Marble Factory and 2014’s gig at The Fleece) an indication of how Riverside are progressing. I welcome gigs at this venue. The elevated stage provides a view of the band from wherever you are, the sound is crystal clear and the staff friendly enough. The beer selection is abysmal, but you aren’t there on a CAMRA night out so deal with it. It’s a club at the end of the day.
Matt had eulogised about support band Lesoir (8) and their fourth album Latitude way back in late 2017 when it first was released. Comparisons to Anathema, Tool and Skunk Anansie were drawn and rightly so. The Dutch band is a complex engine, combining sweeping cinematic passages with intricate middle sections and raging hard rock which when it is unleashed, really motors. Dressed in simple black tops and jeans, the band took the stage with minimal fuss. With limited space to move around, the band maintained a visual presence throughout, aided by ample and effective lighting and a decent sound that allowed their detailed and stimulating music to be heard with a clarity often not afforded to support bands at other venues.
The bulk of Lesoir’s set unsurprisingly was drawn from Latitude, with a couple of numbers from third album Luctor Et Emergo included towards the final third of the set. This was a wise move given that most of the audience were unfamiliar with the band. That will have changed now though, with those sensible enough to get in early (and there were a good few who did) treated to a sublime 45 minutes of, well, progressive, post, alt and hard rock. Yes, it’s challenging to put a label on this band and that’s probably the way they like it. Vocalist Maartje Meessen possesses a stunning voice, her powerful vocals rendering the microphone almost unnecessary, but this is no bellowing, oh no, a subtle and controlled vocal delivery, able to switch between high tempo and calmer, gentle passages with ease. Her flute and keyboard playing aren’t bad either.
Behind Meessen, drummer Bob Van Heumen maintained the beat and added backing vocals with a simplicity that only those skilled in their art possess. Lead guitarist Ingo Dassen’s shimmering work was a highlight, the unassuming guitarist again making his playing look effortless. To his right, newish bassist Ruben Hiejnsbroek, a flurry of movement despite the cramped stage, and alongside him the rhythm guitar and backing vocals of Eleën Bartholomeus, her wide grin and laughter infectious; apparently Bartholomeus is one of the main song writers within the band and this shows, as she was always a step ahead along with Meessen. Including a couple of instrumental tracks within their set not only took some of the pressure off Meessen but allowed the band to demonstrate the high quality of their musicianship. With a respectful crowd lapping up every minute, the generous 45-minute set flew by and the queue at the band’s merchandise stand shortly afterwards testimony to the effect that the Dutch band made.
When we last saw the Poles at The Marble Factory on May 20th 2017, the gig felt like a wake. The opportunity to mourn their fallen comrade, the chance to evaluate the longer-term longevity of the band. Riverside (9) were a band consumed by grief which was shown in various outlets; not least the solo work of bassist and vocalist Mariusz Duda in the latest album by Lunatic Soul, Fractured. Almost two years on from that gig, the band have released one of the most perfect albums of 2018 in Wasteland were clearly ready to exorcise those demons. Laughter, smiles and much interaction with the audience including a sing-a-long after only the second track demonstrated the new life that the band now has. Unsurprisingly, the main bulk of the set was drawn from Wasteland, but there were some interesting additions as well. Three tracks drawn from debut album Out Of Myself linked past and present whilst a smattering of tracks drawn from albums in between was a winning approach. Favouring a simple stage outfit of black tees and jeans (the theme for the night), the biggest change from that May 2017 show, apart from the mood on stage, was the progression in stage set up. An extravagant and highly impressive lighting show accentuated the emotion which Riverside’s songs contain, atmosphere perfectly pitched according to song with the spotlights picking out the band as they delivered their superb performance.
Duda looked as relaxed and engaged as I’ve ever seen him, the process of being back on the road clearly a cathartic one for him, drummer Piotr Kozieradski and keyboard player Michal Lapaj. Although Duda referred to Riverside as a trio, there is now an acceptance of guitarist Maciej Meller, as an integral part of the band, at least whilst on the road. He’s also a stunningly gifted guitarist whose composed and layered work aided the complexity of this brilliant band’s material. At times it was confusing to accept the joviality on stage, especially from Duda and Lapaj, but given the challenges the band have faced over the past couple of years, it’s unsurprising that they are taking the opportunity to enjoy their work.
Far too many excellent moments to list from the entire setlist, but a failure to highlight a couple from Wasteland would be remiss. The blistering opening duo of Acid Rain and Vale Of Tears complete with early crowd engagement, the emotional Guardian Angel where Duda swapped bass for acoustic guitar with ease and the epic The Struggle For Survival which allowed the band an extended showcase of their talent is all worthy of mention. Panic Room, the opening encore from 2007’s Rapid Eye Movement was superb, and final song The River Down Below, which followed an emotional commentary from Duda about the band’s struggles over the past two years, allowed the memory of Piotr Grudzinski to continue as you fought back the tears. As a band, Riverside, now 18 years and seven albums into their career, are finally on the verge of attaining deserved and wider recognition. Fully deserved, one can only hope that the band stay true to their admirable approach and continue to produce some of the most excellent music in rock for many years to come.
The dark days of 2016 appear to be buried at last. A period of grieving and contemplation concluded, this was an evening where the ‘new’ Riverside showed their style, quality and commitment to making music. Full of joy, smiles and genuine excitement, this was a rebirth in all but name. A move to the bigger SWX from their previous Bristol venues (two previous shows at The Marble Factory and 2014’s gig at The Fleece) an indication of how Riverside are progressing. I welcome gigs at this venue. The elevated stage provides a view of the band from wherever you are, the sound is crystal clear and the staff friendly enough. The beer selection is abysmal, but you aren’t there on a CAMRA night out so deal with it. It’s a club at the end of the day.
Matt had eulogised about support band Lesoir (8) and their fourth album Latitude way back in late 2017 when it first was released. Comparisons to Anathema, Tool and Skunk Anansie were drawn and rightly so. The Dutch band is a complex engine, combining sweeping cinematic passages with intricate middle sections and raging hard rock which when it is unleashed, really motors. Dressed in simple black tops and jeans, the band took the stage with minimal fuss. With limited space to move around, the band maintained a visual presence throughout, aided by ample and effective lighting and a decent sound that allowed their detailed and stimulating music to be heard with a clarity often not afforded to support bands at other venues.
The bulk of Lesoir’s set unsurprisingly was drawn from Latitude, with a couple of numbers from third album Luctor Et Emergo included towards the final third of the set. This was a wise move given that most of the audience were unfamiliar with the band. That will have changed now though, with those sensible enough to get in early (and there were a good few who did) treated to a sublime 45 minutes of, well, progressive, post, alt and hard rock. Yes, it’s challenging to put a label on this band and that’s probably the way they like it. Vocalist Maartje Meessen possesses a stunning voice, her powerful vocals rendering the microphone almost unnecessary, but this is no bellowing, oh no, a subtle and controlled vocal delivery, able to switch between high tempo and calmer, gentle passages with ease. Her flute and keyboard playing aren’t bad either.
Behind Meessen, drummer Bob Van Heumen maintained the beat and added backing vocals with a simplicity that only those skilled in their art possess. Lead guitarist Ingo Dassen’s shimmering work was a highlight, the unassuming guitarist again making his playing look effortless. To his right, newish bassist Ruben Hiejnsbroek, a flurry of movement despite the cramped stage, and alongside him the rhythm guitar and backing vocals of Eleën Bartholomeus, her wide grin and laughter infectious; apparently Bartholomeus is one of the main song writers within the band and this shows, as she was always a step ahead along with Meessen. Including a couple of instrumental tracks within their set not only took some of the pressure off Meessen but allowed the band to demonstrate the high quality of their musicianship. With a respectful crowd lapping up every minute, the generous 45-minute set flew by and the queue at the band’s merchandise stand shortly afterwards testimony to the effect that the Dutch band made.
When we last saw the Poles at The Marble Factory on May 20th 2017, the gig felt like a wake. The opportunity to mourn their fallen comrade, the chance to evaluate the longer-term longevity of the band. Riverside (9) were a band consumed by grief which was shown in various outlets; not least the solo work of bassist and vocalist Mariusz Duda in the latest album by Lunatic Soul, Fractured. Almost two years on from that gig, the band have released one of the most perfect albums of 2018 in Wasteland were clearly ready to exorcise those demons. Laughter, smiles and much interaction with the audience including a sing-a-long after only the second track demonstrated the new life that the band now has. Unsurprisingly, the main bulk of the set was drawn from Wasteland, but there were some interesting additions as well. Three tracks drawn from debut album Out Of Myself linked past and present whilst a smattering of tracks drawn from albums in between was a winning approach. Favouring a simple stage outfit of black tees and jeans (the theme for the night), the biggest change from that May 2017 show, apart from the mood on stage, was the progression in stage set up. An extravagant and highly impressive lighting show accentuated the emotion which Riverside’s songs contain, atmosphere perfectly pitched according to song with the spotlights picking out the band as they delivered their superb performance.
Duda looked as relaxed and engaged as I’ve ever seen him, the process of being back on the road clearly a cathartic one for him, drummer Piotr Kozieradski and keyboard player Michal Lapaj. Although Duda referred to Riverside as a trio, there is now an acceptance of guitarist Maciej Meller, as an integral part of the band, at least whilst on the road. He’s also a stunningly gifted guitarist whose composed and layered work aided the complexity of this brilliant band’s material. At times it was confusing to accept the joviality on stage, especially from Duda and Lapaj, but given the challenges the band have faced over the past couple of years, it’s unsurprising that they are taking the opportunity to enjoy their work.
Far too many excellent moments to list from the entire setlist, but a failure to highlight a couple from Wasteland would be remiss. The blistering opening duo of Acid Rain and Vale Of Tears complete with early crowd engagement, the emotional Guardian Angel where Duda swapped bass for acoustic guitar with ease and the epic The Struggle For Survival which allowed the band an extended showcase of their talent is all worthy of mention. Panic Room, the opening encore from 2007’s Rapid Eye Movement was superb, and final song The River Down Below, which followed an emotional commentary from Duda about the band’s struggles over the past two years, allowed the memory of Piotr Grudzinski to continue as you fought back the tears. As a band, Riverside, now 18 years and seven albums into their career, are finally on the verge of attaining deserved and wider recognition. Fully deserved, one can only hope that the band stay true to their admirable approach and continue to produce some of the most excellent music in rock for many years to come.