Little Comets at Mama Roux, Digbeth, 28th March 2025
There are not many bands that can write songs with diverse subjects as Little Comets seem to do with ease. They cover subjects as diverse as child abuse, domestic violence, Britain’s class system, motorways, Rod Temperton, Bottom Feeder Johnson and dancing (to name a few), and still get a packed room bouncing to their infectious Afrobeat rhythms and souring melodies. So you find yourself dancing and laughing at a song about the end of British summertime and the extra hour granted by the powers that be, only to find the lyrics are actually somewhat darker. Some would be put off by this, but for me, it gives all their songs an added dimension and proof, if any were needed, that Little Comets are the best songwriters of their generation.
Added to this is their masterful musicianship and charming interaction with the Digbeth audience. When Rob discusses the problems that regional accents cause, his Brummie accent is spot on (it’s so accurate that it would put many Peaky Blinders actors to shame). The story about trying to spell his surname in a Geordie accent to a Brummie at a Screwfix till is so endearing and relatable that the band and audience noticeably relax and fully enjoy themselves afterwards, whereas prior to this, his mumbled ‘Thank you’ after each song, felt somewhat awkward.
It is possible that the decision to be their own support band and play two sets, caused this imbalance of energy, as Little Comets had to build up from nothing twice. They did joke that part of this decision was due to some of their previous support bands going on to be more successful then they are, so that fortune may rub off on them now. Regardless of levels of success I doubt those past support bands could fill two hours with no stop well-crafted songs like Little Comets can.
In my last review of Little Comets my only criticism was about set pacing and I have no such qualms tonight. Apart from the brief lull as they open the second set, where it seems that a lot of the audience have left the building (did they think there is only one set?), the energy is soon flowing again.
A unexpected delight is when Mickey is coerced into the spotlight, like a tortoise with a slice of cucumber, and brings a new song into the set, which he wrote and sings, for the most part, solo. His brother Rob gives a warm introduction and the room is silent with anticipation. The song and performance is less angular and dynamic than a Rob-led lead vocal track, but it is startlingly beautiful and sensitively backed by the other members of the band. I look forward to hearing it when it hopefully makes it onto the new album.
The main highlight though is the harmonies created by the three main singers: Rob. Michael and Matt. The band’s top line melodies are often complex as they twist and turn with the intricate lyrical rhythm patterns, but to then add harmonies on top is spellbinding. The mix of the voices is also just beautiful and this is most apparent on the stripped back acoustic arrangements but also adds another delicious layer on the full band tracks, where they are thoughtfully integrated amongst the other melodic lines. It is a masterclass.
The setlist features tracks from their back catalogue as well as their recently released singles and there is no sign the band’s creative force has waned. Lyrically they are as sharp as ever (even if at times, like me, you need a dictionary by your side to fully appreciate the words), the description of the UK’s worst prime minister ever as a bottom feeding prawn is incisive and witty. Similarly ‘Future improvement plans’ where it somehow pulls together the man who scored a stunning goal against Newcastle in the league; the lack of taste in lemonade without its chemical additives; and how future improvements means reverting to earlier ideas that were once seen as outdated… it is an illusion, man. Music lovers should really invest in those that write with purpose and vision like Little Comets.
I did wonder during ‘One Night In October’ (when I realised that two days after the gig the clocks were going forward), whether the band was going to write a sequel – definitely one to watch out for.
Review and feature photo – Alan Neilson
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