A queue at the merch stand distinguishes this as a Cut Copy gig. Already being the proud owner of one of their shirts, I edge my way inside. Is this a cover of The Cure’s ‘Boys Don’t Cry’? Nope, it’s the opening track from Mercy Arms. Definitely a haircut band, their screeching guitar with ample echo falls into the category of background music tonight. Mitchell Scott, Cut Copy’s drummer, enjoys his anonymity and watches from the crowd, a luxury not shared by his two fashion-plate band-mates. Riot In Belgium need to crank it up to eleven, the beats sound more like a peaceful protest in Switzerland! Da Hool’s ‘Meet Her At The Love Parade’ falls on deaf ears as the crowd seem to be hearing it for the first time. Bass thumps out as if from the sub-woofers of hotted-up cars cruising Chapel Street – fully si-ick! The Belgians’ ‘La Musique’ is a teaser before Cut Copy o’clock and it lights up the dancefloor with anticipation.
Enter Tim Hoey. He models a bowler hat inspired by Alex from the cult Stanley Kubrick flick ‘A Clockwork Orange’. Next we have the lovely Dan Whitford sporting a Coogi jumper that resembles wearable Pro Hart art! Mitchell Scott dives behind the drumkit with minimal fuss and I forget to notice what he’s wearing. Opener ‘Future’ gets the crowd going, parrot fashion, with double hand-clapping. All three lads flaunt trademark sweeping fringes for maximum flickability – hot! “It’s good to be home!” Hoey enthuses. He skips around like Michael Flatulence from ‘Lord Of The Dance’ (I think he’s been practising these moves in front of a mirror!) Wastoids turn ‘Going Nowhere’ into an out of tune sing-a-long. Why fans dole out their hard-earned cash only to scream and drown out the performers is beyond me! Technicolour triangle graphics reflect the colours on their latest Claude Maus tees. More could be made of their visuals to accentuate the ‘Wow!’ factor. Cornelius has set a precedent no band dares to aim for, but Whitford’s graphic design expertise could surely liven this up.
Interestingly, Hoey informs us the last time they played The Prince they were supported by labelmates Wolfmother. The Cutters may be huge but they’re not arena huge just yet. ‘Saturdays’ is always a highlight and Whitford’s finger pointing actions almost reach Wiggles proportions. A well-timed high-five to the beat adds some flair and Hoey directs unison crowd bouncing that looks nuts. My neighbour in the crowd sums it up -“That was fucken’ Whoo-HOO!” There’s no doubt about it, these boys bring a whole lotta sex to the scene. The crush at the front requires a bartender’s assistance. He hurls water bottles into the nosebleed section from the stage.
What? They vacate before playing ‘Hearts On Fire’. Gee, I hope we get an encore! Returning with ‘Hearts On Fire’ The Cutters dazzle us with their spliced up brand of neon love. Stage invaders leap up and frolic around avoiding bouncers. Whitford’s leg movements mimic a young Forrest Gump before the callipers came off and the lads ignore these exhibitionists. They are joined onstage by the sycophantic chaps from Mercy Arms, who interpret the song’s chorus for the hearing impaired with exaggerated actions that resemble Humphrey B.Bear.
After shaking hands with the peeps in the front rows (‘80s glam rock style) Cut Copy vanish to the tune of discordant reverb. ‘Going Nowhere’ is not an option for these three cats, stadiums are beckoning.
