For an intimate gig, Headrow House is ideal. The stage isn’t much higher than the floor, dissolving the usual barrier separating artist and audience. This makes any live show instantly more intense. In comparison to festivals or arenas, these small, dingy venues are perfect for a band of Telegram’s calibre; their music is best suited to a concentrated space. The support bands were somewhat disappointing. In some ways this was fortunate – it only served to make us anticipate Telegram’s set even more. Blues Fuzz were initially promising, but any positive aspects disintegrated into a faux-60s, perfunctory imitation of tepid hippy psychedelia. Warm Brains also failed to evoke any excitement, filling the room with a monotonous blend of lad-rock and heavy guitars. It was evident from the moment that Telegram took to the stage that, in terms of professionalism, they were light-years ahead of their precursors. Tall, skinny and impeccably dressed, they look (and sound) like they’ve been unleashed from an early ‘70s time capsule.
Lead singer Matt Saunders’s vocals are quirky and powerful – completely undiluted with absolutely no pretences. His interesting vibrato and rolled R’s, conspicuous in songs such as ‘Aeons’ and ‘Regatta’, reveal his thick Welsh accent, whilst also being strangely reminiscent of Marc Bolan and Bryan Ferry. This semblance is particularly noticeable in ‘Taffy Come Home’. Perhaps Ferry is an acknowledged influence on the band – they routinely cover the Roxy Music classic ‘Needle in the Camel’s Eye’ as part of their live set. Saunders’s vocals generally stay in his mid-range, but there was one – just one – brief moment of falsetto. His entire vocal performance appears to be effortless delivery, but at the same time he injects such fire into his vocals that it’s clear he works immensely hard on stage. From the strong, acerbic choruses to his tiny seductive gasp during the pause in ‘Inside/Outside’, Saunders proves he is everything that a front-man should be – engaging, versatile and captivating.
That being said, all members of the band gave very physically expressive performances, which make them mesmerising to watch as a collective. It was obvious that they all glean such joy from playing their music to people. Telegram are an efficient machine; the bassist Oli Paget Moon – love child of Johnny Thunders and Joey Ramone – and drummer Jordan Cook, kept everything tight, binding the songs together with rhythmic glue. The pauses and transitions were exquisitely well-timed, cooperating with each other with immaculate precision. As soon as they started to play, they emanated virtuosity and professionalism. Their sound pertains to characteristics of various genres, from kraut to post-punk, even glam, with subtle flavours of shoegaze and psych. Sometimes, Saunders’s lyrics and vocal style, particularly in ‘Aeons’, reminded me of early Kinks records, contrasted with the obvious glam influence of Roxy Music and T-Rex.
The highlight, although predictable, was ‘Follow’. Released back in 2013, this song was the catalyst for Telegram’s success, and epitomises their overall retro vibe. They played it with such vigour that it was easy to see why it sparked the Telegram buzz in 2013. It took another two years after they first burst onto the scene to release their debut album – however, Telegram’s live show was a testament to their staying power. In addition to their musical talents, they’re genuinely lovely, down-to-earth people, which is a welcome respite in an industry full of egotistical divas.
Words by Zia Larty-Healy