Returning to Brighton for the final leg of their European tour, Warpaint were in a seemingly jovial mood as they danced through 90 minutes of intricate guitar lines, hypnotic vocals, and driving post-punk rhythms which manifested seamlessly into gorgeous, sprawling songs which bordered the line between psychedelia and intimacy.

The Californians are a four-piece unit in every sense. Positioned in each corner of the stage, their individual contributions to the group dynamic is brought to the forefront in the live show. Whilst some bands may have a notable leader or two, Warpaint’s four members all carry unique facets which allows them to contribute to the overall songwriting approach. And, whilst on record their songs tend to slowly build up into a melancholic intensity, the live show is a more instantaneous beast, with a greater emphasis placed on grooves and improvisation.

Borrowing equally from all three of the albums, they now have a solid collection of compositions to fall back on and it’s clear the order of the set list has been thoroughly deliberated over to make the concert a flawless experience. Beginning with the up-tempo ‘Heads Up’ and driving motorik of ‘Krimson’, this initial pairing simultaneously managed to burst the band and audience into life from the offset. ‘Undertow’, perhaps their most famous track, then made an early surprise appearance as heads gently swayed in subconscious appreciation.

For the recent LP, drummer Stella Mozgawa has embraced electronics and linked herself more to reverb-heavy beats to go with the distinctive rhythmic strut she possesses. Watching the band leaves you to appreciate how unique the Australian-born sticksmith is; her inimitable style and percussive ingenuity gives each of the reverb-drenched tracks a new lease of life.

Her initial minimalist beat in ‘Whiteout’ is the lifeblood of the Heads Up track as it gradually evolves into a clattering finale, before Jenny Lee Lindberg’s sumptuous bassline locks in for ‘The Stall’, in what is a much funkier version than on record. She also provides the framework for ‘So Good’ as the disco beat pounds along for one of the evening’s more upbeat moments.

‘Intro’s enthralling desolation and the slow-burning ‘Dre’ then gave some short respite, which was quickly put to rest as the band’s surprising foray into pop music came in the form of ‘New Song.’ It may have had its critics when released, but this track does carry qualities which transfer well into a gig setting. The shadowy atmospherics and complex tempos created by the rhythmic partners in crime then provided a perfect backdrop for Emily Kokal and Theresa Wayman’s vocal harmonies and intricate melodical breakdowns in set closer ‘Disco/Very’; rounding the night off in danceable fashion.

Now well-experienced in the art of their irregular dynamics and obscure time structures, the foursome are an extraordinarily tight live act. Three albums deep, they’ve simultaneously retained their ability to manufacturer-hypnotic soundscapes whilst also managing to further expand them with added intensity when on stage.
Paul Hill

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