Since forming in 2018, Dublin five-piece The Murder Capital have established themselves as one of post-punk’s forerunners, entwining dynamic, brooding instrumentation with the introspection and vulnerability that is often lacking in the genre. Joined by Cusk, an enigmatic new group fronted by actress Esme Creed-Miles, the band brought their live show to Leeds for two nights at the much-loved Brudenell Social Club in support of their recent album Blindness.
At shows in bigger venues, Cusk have arrived on stage with a backdrop reading “Cusk is a band, please take us with you”. Although Brudenell’s traditional staging and limited production meant that this message was not displayed for the band’s appearances in Leeds, it remains safe to say that many in the crowd adhered to the request. Guitar pedals aplenty crowded the stage, leaving little room for the band themselves but testifying to the intricacy of their music.
Cusk’s genre-bending, emotionally resonant songs were received by an enraptured audience, many with mouths agape in surprise that this band they’d never heard of were so impressive. Blending the best elements of Forever, Howlong era Black Country, New Road with the adaptability only exhibited by the likes of Wolf Alice, Cusk didn’t quite match The Murder Capital’s raucous post-punk, but are nonetheless a name to look out for in the future.
As the angular guitar riff of ‘The Fall’ began and The Murder Capital descended upon the small stage of Brudenell’s main room, the crowd seemed raring to go. Mosh pits opened instantly, and chants of “the fall is coming” resounded, providing the perfect opener for the band’s set. Fan favourite ‘More is Less’ followed, bringing with it the predictable chaos it has inspired since its appearance on debut album When I Have Fears ‘Death of a Giant’ left no room for respite, but ‘The Stars Will Leave Their Stage’ heralded a slower portion of The Murder Capital’s set, allowing the audience a moment to breathe which was already much needed. During this song, James McGovern’s half-spoken vocals and brilliant lyricism stood in the spotlight, and 2023 standalone single ‘Heart in the Hole’ and When I Have Fears track ‘Feeling Fades’ had a similar effect.
The Murder Capital went back to Blindness with ‘A Distant Life’, a song that reflects the lighter tone seen across their most recent album. ‘A Distant Life’ is an astounding piece exploring the complexity of love and affection with introspective flair, valuing “the salt taste of your mouth, the small pockets of love” but also recognising and grappling with “the price we pay for connection”. The centrepiece of The Murder Capital’s debut album is undoubtedly the two-track run of ‘Slowdance I’ and its instrumental counterpart ‘Slowdance II’, which have been performed as intended by the track-list of When I Have Fears throughout the band’s tour. The two songs built to an emotional cacophony of guitar and drums, before ‘Swallow’ saw the crowd echoing the touching chorus of “I need you to go, so you don’t swallow me whole”.
In the same way that it brought fans back into the world of The Murder Capital as the first single from Blindness, ‘Can’t Pretend to Know’ ushered in the return of the bedlam seen at the beginning of the band’s set. ‘Moonshot’ followed with Diarmuid Brennan’s propulsive percussion inciting further mayhem, leaving limbs flailing and punters falling, and there was no rest for the wicked once again as ‘Don’t Cling to Life’ brought its short but sweetly intense carpe diem manifesto. Upon its release in the track-listing of Blindness, ‘Love of Country’ asserted itself as a highlight in The Murder Capital’s discography, documenting the dangerous rise of nationalism and xenophobia in the modern world. The song was preceded by a chant of “free, free Palestine” led by McGovern, and seemed to leave the audience entranced as the band departed the stage.
Blindness closer ‘Trailing a Wing’ opened the encore with a soft touch, before Gigi’s Recovery track ‘Ethel’ provided the overall highlight of the band’s live set. The vigorous brilliance of ‘Ethel’ cannot be understated, and the crowd’s excitement reached its peak in accordance with the song’s pinnacle. ‘Words Lost Meaning’ closed the show: effortlessly catchy yet musically grinding, the song oscillates in accordance with its lyricism which explores the erosion of sincerity in language and human connection.
The Murder Capital could easily headline any of Leeds’ larger venues, bar the arena, but Brudenell Social Club proved the perfect setting for two intimate nights of their energetic, melancholic, cathartic live show. As the band approached the end of their set, McGovern lauded the venue, claiming “there’s nowhere else we’d rather play”, a sentiment echoed by scores of British bands that have brought Brudenell a legacy that spans genres and generations. This show marked the band’s sixth appearance at the venue in as many years, and here’s to hoping there’s many more in future.
