Bdrmm, The White Hotel. 14th November 2023

It’s nice to see Bdrmm in a new Manchester venue. I think I’ve seen them about three times in Yes, oh and once in Canvas, but tonight they’ve come to the rough diamond that is The White Hotel. To be honest I’d watch this lot play anywhere as it doesn’t really matter what’s physically surrounding you, all that is about to melt away. When I fell for their debut, I fell hard. So much so that when the follow up came, I found myself a little resistant. I knew I loved it, but it was new and it confused me having competition in my heart. I took a while until I saw, heard and appreciated the progression. That’s where we find Bdrmm tonight. Still pushing.

Before all that though, we’ve got Damefrisør, who (probably only to my own amusement) I also saw last in Yes. I’m not able to get in as early as I hoped so I only catch half their set, but they sound more raw and noisier than last time I saw them. They finish with a blistering version of ‘2-HEH-V’ and seem to have made some new fans.

Thoroughly warmed up, it’s time for Bdrmm. As Massive Attack’s ‘Angel’ tests the speakers, the earplugs go in, this is gonna get loud. The synth pattern of ‘Alps’ leads us in, before the guitars layer up and we’re off. It’s balearic tones underpinning a moody beast. For a second I wonder if we’re getting I Don’t Know in full as they roll into ‘Be Careful’. It manages to be both haunting and bouncy in equal measure, especially as it reaches its euphoric climax. ‘It’s Just a Bit of Blood’ follows to continue the first three tracks of album two. Ushered in by that gorgeous guitar before the drums detonate and etches a batshit grin on my face. It’s like hitting fifth gear on the motorway only to find you’re in a 6 speed, with a turbo and on an empty autobahn. Phenomenal. As is ‘Gush’, the first song tonight from the debut with those beautiful Cure flecked guitars that roll effortlessly. It’s supercharged 90s shoegaze that seems to build around multiple tempos, which is quite amusing watching people bob around at different speeds. ‘We Fall Apart’ for all its power, hangs around Ryan’s vocal and Jordan’s backing to be fair. That said they’re undeniably exciting when all four lock in and let loose, something they do a lot and I love them for it. ‘Hidden Cinema’ is one I’m not sure I’ve heard live before. Although admittedly my memory gets fuzzy, maybe that’s why I write these reviews. Then to complete the pretty much sequential run through I Don’t Know, feedback intros ‘Pulling Stitches’. Pedals pushed, Jordan smacking his bass. Apt for such a sonic monster. Eyes closed, I’m floating, but if you want to dance, this is the one, it soars! My watch vibrates trying to distract me, telling me it’s too loud. I ignore it knowing the earplugs are doing their job, even if they weren’t I’m not moving, I’m right at the front, this is too good. ‘Is That What You Wanted To Hear?’ doesn’t let up and neither does the new one ‘Mud’ that slips nicely into the set. With keys and the synth, it’s less reliant on the guitars, but no less atmospheric and with a blinding coda with the rhythm section taking over, its sounds massive. The sublime ‘Forget The Credits’ puts us back on the more familiar, with its cinematic soundscape. We might be in a cold concrete industrial relic, but with those open guitar notes resonating like a David Lynch scene at a roadside dessert diner, in the early hours of an endless night it’s mind blowing. On record it’s amazing, but live, fuck me it’s incredible. How on earth do you follow it?? ‘Push/Pull’ is a pretty good answer. It sounds even more epic than usual. Sped up, strobes kicking, fuck yeah!! Ryan shouts the verses, it’s menacing. Joe falling to the floor and seeing it out sat down with a huge smile on his face. Like mine. They rip through ‘Happy’ before Ryan ditches the in ear monitors that have clearly been pissing him off all night, before they slide into ‘(Un)happy’ on a wave of shredded feedback that must have the soundman fearful. It’s all about Conor on drums, his kit taking some serious punishment. I’m not sure it’s going to hold, but it’s breathtaking. Some of the best rhythmic pounding you’ll witness anywhere. They close with ‘Port’. A brutal bastard that bookends the set that started with Massive Atracks’ bass wobble nicely. It’s sparse intro giving way to thunderous drums and guitar solos. Jordan screams, guitars scream, I nearly scream. They never disappoint, but tonight feels like a real step up. I’ve got five gigs this week, this has just set the bar dangerously high.