By Dabrowka Nowak, Third Year, English
The name Wheatus evokes a sense of teenage angst for me. A vague vibe of guitar-shredding in a garage, beer in hand, and a grungy energy were the expectations I held walking into this gig. What Wheatus did during their night in Bristol was own this image whilst simultaneously flipping an angsty genre into a welcoming, audience-centred night of pure fun.
The Thomas Nichols Band opening was a great mood-setter. Walking into Electric Bristol to a rocky cover of ‘Stacey’s Mom’ immediately told me I should prepare for a night of sleazy fun. The duo had an energy and vocals born for Midwest emo. Blending their music with guitar excerpts from Nirvana, Weezer, and even a cover of Marley’s ‘One Love’ demonstrated a prioritisation of audience and performer enjoyment, in a joyously non pretentious set.
25 years on from the release of hit song ‘Teenage Dirtbag’, Wheatus embarked on a tour of England, Australia and the US. If their evening at Electric Bristol did anything, it was prove that they know how to party.
Wheatus’s set was unlike any other I had seen before. When I say there was no rise and fall in the two hours, I mean this in the best way possible. The band played every single three-minute song as if it were their last. The energy was beyond one hundred at every point.
They curated a ‘DIY setlist’, asking for audience requests from start to end. To avoid over-poeticising, but granting due compliments, the gig was a deliberately collective experience. The band paused to help an audience member, went with the flow, joked amongst themselves, and performed with ease.
The ten-piece band was led by front-man Brendan B. Brown, with three backing singers. Rarely, even for the heaviest of metal gigs have I seen three drum kits, let alone at the centre and front of the stage. Wheatus visually prioritized energy and drive, a constant beat to dance to!
The band never took themselves too seriously, complaining one of their songs is ‘just a terrible f***ing song’, yet performing it with full musical talent and energy nonetheless. Amongst the setlist was Erasure cover ‘A Little Respect’ and varying songs about silly topics such as ‘BMX Bandits’ and ‘Chan’s The Man’ which never crossed into the immature or vulgar, instead allowing a space for music to just be fun.
Frequent jokes about Thekla, or ‘the boat’ were made throughout the night, bringing a pleasant sense that the band truly cared about the places they toured in and the cities they visited. Brown had a grasp on British customs, joking that there was calls for the mayors resignation after four inches of snow in London whilst introducing ‘The London Sun.’
Sophie Scannell
Naturally, ‘Teenage Dirtbag’ concluded the show. Self-proclaimed as not one of those bands which refuses to play their most famous song, they in fact played it twice, or rather the Christmas remix had a brief appearance during the gig’s midpoint. The actual ‘Teenage Dirtbag’ was chaotic, with dancing and singing and even a reading of a list of the most ridiculous situations Brendan B. Brown has nearly died in. Wheatus’ concert concluded with a surprisingly uniting and heartwarming display of carefree, youthful fun.
I love live music which drops all pretences without dropping actual skill or effort. Wheatus brought a night of genuine fun to Bristol, allowing everyone to just be themselves.
Featured image: Epigram / Dabrowka NowakWhat song would you have requested from Wheatus?
