Bdrmm, Gorilla. 11th March 2025

I don’t play an instrument, I’ve never been in a band and while I like a lot of different artists, there are a few that I think, if I could play, that’s the kind of sound I’d like to make. Bdrmm are one of those bands and what makes it even more interesting to me is I still feel that way as they’ve evolved over their three records. There’s quite a shift from their debut to the new record they’re out supporting in Gorilla tonight. The soul of the band is still there of course, but put Bedroom together with Microtonic and there’s a notable shift. That’s what I’m looking forward to tonight, hearing how these songs play together in a live setting. This is my fifth time out with them and it’s nice to see the venues get bigger each time. ‘Microtonic’ is a gorgeous way to lead us in. It’s a bit Mogwai with the piano line building to a squall of guitars and instantly captured the scope of their progression. There’s lots more electronics on stage than last I saw them and they’re put to good use on the darkly dystopian ‘Clarkycat’. They’ve always sounded massive, but this is fuller, more layered, more confident than ever. The bigger room might help, but I think this is all them. Can we call ‘Push/Pull’ an old favourite? It is and it sounds incredible as ever, but punchier with Ryan snarling his vocals and the driving drums set to stun. ‘John on the Ceiling’, apparently about John Cooper Clarke dancing on said, kicks off with blue spots that probe the room and match the synth wob that underpins it. It’s very ambient until Conor’s drums kick in and it soars. They’re wonderful to watch. Clearly as lost in what they’re creating as we are. The sound desk have given them plenty of rope and ‘Is That What You Wanted To Hear’ sounds probably the best I’ve ever heard it, as it blooms ethereally and lights explode behind my eyelids. A bloke in a shirt and tie going by the name Mr TV is brought on as a sort of dancing hype man for ‘Lake Disappointment’. It later transpires (to me at least) that he’s the actor from the song’s video, which makes more sense, although it worked as a live spectacle regardless. ‘Be Careful’ takes me to another place, before we get another guest for ‘In The Electric Field’. Singing this time though, Olivesque’s vocal sounds fantastic. From the new record, I think I’m right in saying this is their first guest vocal. With two great voices already in the band they don’t really need help, but it’s still nice to have the variation. It’s perhaps their most anchored sounding song in the set, all 90s echos and sublime basslines. ‘Standard Tuning’ brings back the 3am dance vibes with some decent trouser waft. But it’s blown away by ‘Infinity Peaking’ which does indeed feel like the peak in perfect set and it’s here that I’ll declare this is the best I’ve heard them. It’s not downhill though, ‘It’s Just a Bit of Blood’s wall of guitars and vitriolic menace keeps up the pace as instruments are shred and smiles are shared. They know there’re brilliant. This is something I love to see. A band connected like this, bonded, enjoying themselves. ‘Sat in the Heat’ slows things a touch, even with its militaristic drums. Its bass keeps a steady pace whilst the echoey vocal rolls around this bunker like room. ‘Snares’ takes us into the break feeling like it could be part of an art installation. Something that looks cold but makes you feel warm and hopeful. Before they return for the encore, with ‘The Noose’ and the dual pairing of ‘Happy’ and ‘(Un) Happy’, structured indie banger giving way to a tornado of guitars a drums. ‘Port’ closes. Going full apocalypse, it’s powerful stuff. From a powerful band that although I’ve been saying for years are amazing, they inexplicably keep getting better. I’m sure next time I’ll say the same thing, in a bigger room. I’ll be there. I suggest you are too.