LITTLE GREEN CARS REVIEW | FRI 8TH MARCH | 02 ACADEMY, GLASGOW – SUPPORTING JAKE BUGG

Little Green CarsLittle Green Cars stood before the Glasgow crowd at Friday’s Jake Bugg headline show full of what ever it is that makes them one of the most mesmerising bands to come out of the recent folk-rock genre.

Slotted nicely somewhere in between Mumford & Sons and The Maccabees, the Irish five-piece have something of a hit maker with debut album Absolute Zero.

The album in question has been a long time coming. Since forming five years ago in 2008, its obvious time has matured and perfected this technically-impressive band.

Absolute Zero, due for release in May, was given the magic touch from super-producer Markus Dravs who has previously worked on releases by Arcade Fire, Björk and Coldplay.

On-point harmonies and dusty percussion aside, it seems the beauty of female member Faye helps highlight the band in neon lights in their busy folk-rock genre.

Fashion doesn’t make a band, but one couldn’t help notice the gentle glimpse of midriff from singer Faye. An open flannel shirt teamed with rock n roll leather trousers sat as a perfect contradiction to her undeniable nervous disposition. A contradiction your english teacher would explain as as a juxtaposition, my eyes hardly left her section of the stage.

Jiggly guitars cut through the mix like a knife to cheese during the Little Green Cars set. The band play with a subtle undertone base reminiscent of The Velvet Underground. Obvious during track The John Wayne, a steady base carries the vocals through a beautiful mix of harmonies and guitars.

Their trademark melodic tone is brewed to perfection and is at its best during new single Harper Lee. The crowd reacts well to this one, the beautiful voices of front-duo Stevie Appleby and Faye O’Rourke again a highlight.

The buzz is finally growing strong for the band. With a sold out date at The Button Factory in March and an addition to the bill of Coachella, the Dublin boys and girl are sure to make an impressive mark on 2013.

Review by Nadine Walker