In some ways this show feels like a victory lap: releasing their fourth album ‘viagr aboys’ on their own record label ‘Shrimptech Enterprises’ and independently embarking on a whirlwind tour of some of the UK’s biggest venues, as well as hitting up this year’s Coachella on the way.
Opening the night are local lads Cooper T, a Manchester based collaboration between two anonymous producers clad in balaclavas and British designer. They are unapologetically Northern; shouting out Barrow-in-Furness which gets a small ripple of applause back from the Cumbrians in the audience. Cooper T fuse everything from indie to jungle to punk, harking back to an era of British indie sleaze and reminiscent of iconic acts like The Streets.
On a blistering Thursday night, the duo’s rallying cries for energy seem to fall on deaf ears, however as the set rolls on the crowd gets behind them, jigging along to ‘Glasses in the Pub’, which twists into a UK garage beat. They launch into final track ‘Gettin’ In The Way’ with the crowd fully behind them, and sees them share more than a last name with singer-songwriter royalty Jamie T, the track not out of place on the indie classic ‘Panic Prevention’.
Then it is time for the main event, as the crowd jostle forward to fight for a better view of the Swedish six-piece. Viagra Boys saunter on stage at 9pm exactly, donning sunglasses and sans shirts. Rock and roll swagger oozes from their tattooed pores, as they launch into latest-album offering ‘Man Made of Meat’, which immediately prompts a pit to erupt. Fans know every word, despite the album releasing just the week before, screaming along to frontman Sebastian Murphy’s cynical depiction of modern-day American living. The second track sees us dipping into their illustrious first album with ‘Slow Learner’, a gem from the remnants of the post-punk Windmill scene resurgence of 2018 that has lived to stand the test of time.
There are quieter moments in the set: recent single ‘Uno II’ is driven by a pondering bassline, hi-hat and a flute, and new addition to the set ‘Medicine for Horses’ is a yearning ballad of bizarre romanticisation of death, “go ahead, break my neck / take the fluid from my spine”, as if Murphy is a sacrifice for salvation.
After a few introspective moments, the party really starts: disco-punk track from acclaimed third album ‘Ain’t No Thief’ induces a wave of limbs from above the crowd, shepherded by security back into the crowd only to go back up again. ‘Research Chemicals’ gives the band their moment to shine, popping up to the front so guitarist/flutist/ saxophonist/magician Oskar Carls can wield his saxophone to the clamour of fans at the front.
Despite their seemingly rock and roll charisma, the thing that makes Viagra Boys so special is self-awareness: from overt references of America to the band name itself, the world they have created is there to have fun with. Everything is tongue-in-cheek and silly, like second album standout ‘Ain’t Nice’ lyrics about vintage calculators, but underneath it all there is a solemn side: in closing track ‘Worms’, Murphy declares “the same worms that eat me / will one day eat you too”. Above it all, Viagra Boys know that all of this will one day come to an end, so they may as well enjoy it whilst it’s happening.
Kaitlyn Brockley
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Images: Kaitlyn Brockley
