The Lovely Eggs
The Lexington, London.
December 2nd 2013
The Lovely Eggs bring their unique brand of punk twee whimsy to the Lexington and Neal Wright goes to listen.
Tonight’s Lovely Eggs gig was rescheduled due to the main act being taken ill the previous Friday.
There’s a lot going for the Lexington. It’s a fine Victorian corner building with a markedly friendly vibe. Inside, a large list behind the downstairs bar promotes an excellent array of Bourbons and American beers and it has a cool, relaxed atmosphere too. Upstairs is the 200 capacity music venue, and the mood is set with a mixture of well-chosen psychedelic/rock/latin tunes from the house DJ. Some corkers too. Eighteen Is Over The Hill – West Coast Art Pop Experimental Band; Hallucination – Baker Knight And The Knightmares; Bite My Tongue – King Khan And The Shrines, and some Beatles and Cream thrown in for variety.
The support act tonight is Simon Love And The Last Electric Band. They are a 5 piece augmented by their guest who initially appeared stage right, sat behind a keyboard, indolently feigning browsing through a novel. For the first couple of songs, the band sounded awkward but once the engineer corrects the glitches, they instantly gain in stature. Simon in particular was impressive, he was cool and a spirited natural frontman and there’s some equally fine pre-programmed psychedelic keyboard throughout the set. The vocals were appallingly cheesy at times and there were a few bum notes too. But who cares? The audience loved them and they were excellent fun. A few tracks stuck out, in particular a song introduced as being “from the view point of Elton John’s wife”. The stage guest got up to front the revelry too (Unfortunately I didn’t note his name). They impishly tell us not to cheer as loud for the headliners, as the Lovely Eggs had bought their baby along tonight. It’s a truckload of chugging pop with wistful lyrics. Visually though, imagine the cast of the Big Bang Theory without the eye candy. Entertaining, with a Capital E.
Only a few moments pass before the headliners appear but still you can’t help noticing the gaudy red velvet drapes and 80’s kitsch wallpaper which is prominent throughout …
The Lovely Eggs open to a thunder of feedback. Holly (vocals/guitar) and David (drums/vocals/occasional mandolin) are masters of pitch and noise diversity. Frequently The Lovely Eggs will interject a reflective, melancholy old wife’s tale utterance and turn it on its head to uncover a thrashed, 10 second razor sharp detonation. The juxtaposition of noise and melody is their perfected art. These songs are spiked with cute observations – plausibly extracted from playground humour and old folk phrases. People Are Twats is a perfect example (it’s now about Christmas shoppers apparently) and so is Don’t Patent That Shoe which together form the opening.
Forget Mohawk cuts and aggressive swaggering for a minute, THIS IS PUNK, however dreamy. I Just Want Someone To Fall In Love With maybe. Then there’s Fuck It – “That’s our philosophy” David informs us. The music stops for a playful interval: Both Eggs invite the audience into their interaction. Toilet humor flows and stories about their recent experiences with masticating, the Norovirus (it’s worth trying once) and Holly’s Auntie Marion amuse the gathering before lunging into Panic Plants and a blistering extended version of Allergie’ from their more recent Wildlife album. Food and illness return to the wordplay once again and Holly elbows a short reflection about posh olive sandwiches into debate before beginning Oh The Stars and ambles amongst the audience. Appropriately Food is next and then the band’s sound engineer (Al) gets a birthday mention. Then two of their superlative songs – Have You Ever Heard A Digital Accordion and Don’t Look At Me (I Don’t Like It) finish the set.
Possibly due to the previous rescheduling, the band performs an uncharacteristic encore: featuring Mohammed Ali And His Friends’ and a bastardisation of I’m A Journalist’ for a somewhat confused crowd member (it appears he has difficulty remembering his job title) entitled something akin to I’m A Poor Twat. Then shouts from the audience of Big Red Car inspire the closing song of the night.
All in all, well worth the extra 3 days wait.
All words by Neal Wright. More work by Neal can be found in his Louder Than War archive.