Βι¶ΉΤΌΕΔ

Now this is sad to see. Gifted used to be one of the premier nights for local music, with the likes of The Answer, Duke Special, Fighting With Wire, In Case of Fire (in their Element days) and going back further to bands like Co.Uk and Torgas Valley Reds being counted amongst its alumni, but it appears to have fallen on hard times of late with a very sparse crowd for a venue of this size. It's probably just the cyclical nature of these things, but it's hard not to look upon this as a night in need of revitalisation, especially with the local music scene in a thriving condition.

Unfortunately, our opening act provides a clue as to why it's not the essential choice of bands and punters. Microlip pass our time with a the sort of safe bland MOR, in places hackneyed and predictable, the sort of music that really isn't (rightly or wrongly) pulling in crowds in contemporary Belfast. 'Answer To My Prayers' is as cliched as the title suggests, while 'Fall To Pieces' similarly fails to push any envelopes. Overall, when the highlight is the cymbals falling over, it's not a good sign.

And so we turn to Exit, our second band of the night. Unfortunately their overblown 80s rawk is enough to make us look for escape routes. 'Live and Learn' and 'City By The Sea' just feel like re-treads of their 80s rock influences, anathema to those of us who count punk and grunge as our major musical foundations. 'Highway To Lost And Found' is decent stompy rock and rock in the movie soundtrack tradition, but feels somewhat lightweight and a touch derivative with it's twangy guitar that is reminiscent of Cut Loose. Maybe it's my aforementioned punk-grunge heritage but 'Break The Chains' feels much more promising, with its darker and heavier vibe, at least until the slightly flabby bit to allow our guitarist to show off.

Ah, HCTLG, very different to what has come before. Starting with their glorious twisted bayou sleaze-stomp of 'Leadbelly', they're immediately establishing themselves as a couple of levels above the previous acts, in terms of polish, presence and stage-craft. Μύ

'Johnny' is a slice of the threatening subversive history of rock and roll, dark undertones abounding in it's MC5 and Monks proto-rock-blues, while 'Whiskey Times' cuts across this darkness with a country jaunt in it's swing. There is a soul and understanding here, a realisation that music comes from the heart and the body rather than being a choice of style, and although no wheels are re-invented, there is a primacy and rawness that gives credibility. Μύ

'Open Up And Let It Bleed' is the damned preacher, who invoked those devils, preaching to the converted and perverted choir, while 'Bubblehead' is the good ol' southern boys bringing punky touches to their repertoire like a more extreme Hayseed Dixie. While these guys are undoubtedly influenced, unlike the supports, they have an understanding and a sympathy for their influences rather than aping them.

William Johnston