It’s January, it’s cold and dark, and the outside world is wild and unforgiving. Seadog are hungry for warmth, weary from their travels and looking for a place to stay; a place to play. Drawn to the magical green hues of the Northern Lights, Seadog arrive ready with instruments to entertain and brighten up the lives of those inside the pub… but there’s no room at the Inn. Or rather, the Inn didn’t know there was supposed to be a gig tonight. Oh dear.
Fortunately, the promoter arrives, whispers into the ear of the Northern Light’s boss and before we know it drums are being carried over the heads of unassuming diners and guitar amps are expertly wheeled through the maze of tables and chairs. A space of sorts is cleared for the performers, and so it begins.
 
Any lingering effects of plummeting temperatures outside are quickly forgotten as the opening song begins. ‘Haunted’ has a distinctly Californian feel to it – all close harmonies and overdriven guitars. It makes everyone feel warm and fuzzy.
 
Next is a song I’ve heard in several arrangements, ‘Subside’ – another track (like Haunted) that appears on recent EP ‘Transmitter’. It’s certainly a versatile song, but it’s in this arrangement with the full band where it makes the most sense – much like the previous song, its smooth warmth and sublime ascending harmonies fill the room.
 
Obviously it’s preferable to have crystal clear sound with reverb-laden vocals and so forth, but you learn about a band when the cards aren’t necessarily stacked in their favour. It was apparent that Seadog have to work hard in tricky conditions, but singing without monitors and playing with a distinct lack of elbow room doesn’t stop them from acquitting themselves in style. Throw in a last minute replacement for long time bassist, Max Numajiri, in the form of Mike Shirley (Man Ray Sky) and the bedding in of new keyboard player, Charlie Hayter, and you do really have to doff the cap to Seadog for pulling out such a performance.
 
Admittedly, the middle section dips a bit with two new songs seemingly being road-tested. Understandably, the performances are a bit tentative, so it’s hard to form a considered opinion, but I can see the potential in ‘Burning the clocks’. It’ll be nice to hear it again a little further down the road.
 
The penultimate song of the night is ‘Transmitter’, the title track from the EP. It showcases Seadog’s strengths well – fluid drumming and thoughtful interplay between instruments lay a foundation for Mark Benton’s rich and gentle vocal, combining sweetly with Hayley Savage’s voice in the choruses. True to Benton’s writing, it is gracefully melodic, considered and quite lovely.
 
As the clock draws ever closer to midnight, Seadog end on ‘Call and Respond’. The song builds nicely, with a Broken Social Scene roll to it, and twin vocals draw the ear. A frenzied, circling riff brings the song to its conclusion and it’s ‘job done’. Seadog have successfully brought us in from the cold and thoroughly warmed the cockles.
Adam Luke Atkins