On a chilly February night, a packed out Leadmill paid host to a dynamic show by experimental post-punk outfit Squid. The band seamlessly navigated through their diverse catalogue, blending together contemplative, hypnotic and energetic moments throughout their set.
Ollie Judge’s (vocals/drums) urgent vocals and driving rhythms anchored the performance, while Laurie Nankivell (bass guitar/trumpet) and Arthur Leadbetter (keys) shifted between bringing groove and melody throughout. Guitarists Anton Pearson and Louis Borlase weaved layers of angular noise and lush chords through the rest of the band’s sound.
The set was mainly composed of tracks from Squid’s latest album, ‘Cowards’, with a trio of tunes opening the set. Squid showed the ability to balance their more contemplative latest work with the raucous energy of earlier album ‘Bright Green Fields’ by then launching into the energetic ‘G.S.K.’. The undulating sounds of ‘Swing (In A Dream)’ then led into the lush harmonies of ‘Fieldworks I’ and haunting strings of ‘Fieldworks II’, leaving the crowd captivated. ‘O Monolith’ track, ‘Undergrowth’, was a particular highlight with the hypnotic bass sounds punctuated with bursts of guitar and trumpet bringing the feel of a dancefloor more associated with electronic music. The main set closed with the yearning melodies of title track, ‘Cowards’ and left the audience clamouring for more.
Squid returned for an encore containing a freeform interlude before launching into ‘Narrator’, building the crowd into a frenzy. The night culminated with ‘Well Met (Fingers Through the Fence)’ its sparser sound highlighting the band’s ability to coalesce disparate elements into a cohesive whole and leaving the crowd mesmerised.
Squid’s musical ability has always been evident, but tonight showcased a band full of confidence. They demonstrated the ability to transition between all aspects of their sound with a certainty that they can bring the audience along on their journey. On this evidence, they are right to think so.
