Kill It Kid / Sparrow and the Workshop

Review of Kill It Kid / Sparrow and the Workshop
Scott McLoughlin

In depths of Edinburgh and Cabaret Voltaire’s basement venue Kill It Kid move into position on to the stage. You can’t help but notice the youth before you. The average age of Kill It Kid cannot be more than 20. Next thing you know, you are mesmerised, utterly transfixed on Chris Turpin’s Voice. Chris himself, adorned with a black cowboy-esk shirt and skinny jeans, looks slight behind his electro acoustic guitar. You stand like those around you trying simply to comprehend how such a commanding voice came out of such an unimposing figure. Finally you grow accustomed, and to your delight realise there is a lot of sound to be receptive too. Piano playing vocalist Stephanie Ward in any other band set up would be more than strong enough to lead. Indeed, she has a lead role in songs such as ‘Private Idaho’ and ‘Dirty Water’. Nevertheless, Stephanie and Chris’ vocal harmonising offers the listeners a delightful and beautiful contrast; holding your attention effortlessly. Nevertheless, the Bath five-piece keep on giving. Electrifying fiddle, pure piano, and driving bass tones are rounded up by stampeding drums. In contrast to their recorded material the drums are much more an integral part to the live Kill It Kid experience. Drummer Marc Jones appears to be a man beating out his soul for a higher purpose. A third of the way through the set Chris Turpin picks up his sunburst Les Paul guitar, and grabs his slider in preparation for steel thrashing blues. Well rehearsed and tight, Kill it Kid will not disappoint; even if they are not what you would usually go and watch. Slower paced dynamic and beautiful melodious movements contrast to fast, rockier and raw blues tracks throughout the set. From what I witnessed set highlights include ‘Send me an Angel Down’ and ‘Dirty Water’.

As if you hadn’t already had your fill, Sparrow and the Workshop take to the Floor. The Glasgow based trio produce a much subtler and cuter sound than Kill It before them. I found them much more formulaic, and gentle. Not necessarily a bad thing after such an enormous performance. Their aim seems to be a pop-folk-country sound from times gone by; soothingly familiar yet new. The Edinburgh crowd reacted well to the delicate voice of Sparrow and the accompanying Celtic male harmonies. Addictive drums and alternation between big bass tones and accompanying electric guitar bolster Sparrow’s acoustic lamenting. Their sound reflects their diversity of background, a three piece composed of an American, a Scot and a Welshman is bound to provide some interesting results. A confident and enjoyable performance; clearly festival experiences at Glastonbury and Kendal Calling have done much to develop their stagecraft and fan base. Future support slots with Idlewild are set to take the band to new and yet undiscovered heights.

Hopefully they’ll both visit Newcastle soon.