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Pip Blom

Feb 24, 2024 By Dom Gourlay Web Exclusive

There’s a lot of focus on the UK live music industry being in decline at present. Whether it be rising costs and low ticket sales causing several festivals to cancel or take a year out, or a growing number of independent venues being forced to permanently close their doors (Such as The Chameleon Arts Cafe in my native city) its probably fair to say live music is on its knees right now. Which then means those less affected such as the national Academy chain can prosper, and at times, behave in a manner only befitting them to the detriment of building any relationship with prospective customers. So, when yours truly is escorted out of the venue a good fifteen minutes after entering because one’s bag is apparently too big and presented with a tape measure to confirm it breaches the venue’s policy of anything larger than A4 size being prohibited, it isn’t just a minor irritant. Its an unnecessary breach of liberties. A ridiculous rule exercised by a venue with no logical or feasible rationale covered any health and safety legislation. After remonstrating with security for several minutes before finally being allowed back in - under escort - provided said bag is left behind the merch desk and not collected before the last song of the evening “or else” - it begs the question. Where do these people get off on such preposterous behaviour? Thankfully, it didn’t spoil the night or the show, but left an unpleasant taste and will make this writer question whether they’ll cover another show in this particular venue.

Anyway, on with the show. This time next week, PREGOBLIN will have released their long awaited debut album PREGOBLIN II. Not only has it been worth the very long wait, it’s arguably one of the finest debuts anyone will release this year and already an early contender for best album of 2024. It’s also a record that combines the many elements of PREGOBLIN’s psyche. Essentially the brainchild of Alex Sebley, who takes lead vocal duties this evening. Backed by three musicians that includes Fat White Family’s rhythm section Adam Brennan (bass) and Samuel Toms (drums). Tonight’s set focuses on the feral, guitar-based side of PREGOBLIN. Songs like “Roma” and “Sort It Out Down There” were made for intimate settings such as this one, while “Big Hitters” strikes a chord with all and sundry in the Academy’s dimly lit confines. One of their earliest compositions “Love Letters” is a welcome addition early in the set, as is former single “Snakes & Oranges” which serves as the penultimate number before “These Hands”, last year’s collaboration with Pete Doherty (the Libertine isn’t present this evening) brings the set to a close. While their more electronic based compositions are noticeably absent from this evening’s set, it doesn’t detract from Sebley and PREGOBLIN’s performance which is sure to have earned them a bunch of new admirers here.

This tour also represents a brand new approach for tonight’s headliners. The last time Under the Radar saw Pip Blom - almost one year ago to the day at Leiden’s Peel Slowly And See festival - they were a very different entity to the one standing before us this evening. Then a four-piece indie rock band by all definition, drummer Gini Cameron has since left Pip Blom to have a baby so the band have incorporated a more electronic approach that owes as much to The Human League or LCD Soundsystem as it does their previous guise. Last year’s third album Bobbie hinted at a change of direction and it’s probably fair to say the new songs favour this set-up. It speaks volumes that eleven of Bobbie’s twelve pieces feature prominently in the setlist, and judging by the reaction out front as well as the dynamics on stage, the new, dancefloor friendly Pip Blom is a resounding success that’s certain to be a surefire hit at this summer’s festivals.

Opening with the triple whammy of “Red”, “I Can Be Your Man” and “7 Weeks”, Pip Blom sets the scene admirably for the next hour of (mostly) hi-energy action that follows. Fellow newbie “Not Tonight” receives its own introduction before a couple of the band’s earlier singles “Keep It Together” and “Daddy Issues” provide a timely reminder of why all those present were drawn to Pip Blom in the first place. Indeed, it’s this penchant to switch between styles at the drop of a hat that keeps both band and audience on their toes - literally - and makes for a delicately poised fusion of genres fit for all occasions.

“Brand New Car”, “Fantasies” and “Where’d You Get My Number?” bring the first set to a climactic finish while the encore’s mix of new and old material finds two of their earliest compositions “Come Home” and “Babies Are A Lie” sandwiched between two of their most recent “Tiger” and “Get Back”, providing an exquisite finale that ensures even the most torrential of downpours can’t dampen spirits on the way home.