Hecklergigs: Cut Copy, Scala, 23/4

There are many things that can stir up a sense of dread at the opening stages of a gig.

Poorly-judged chemical consumption, signs reading ‘Carling only’, or The Others as a support act are a few, but a wanker in a trilby and sunglasses (indoors) is just as effective.

For this reason, the start of Wednesday’s Cut Copy gig was an apprehensive one, but this man’s presence can be easily explained.

He was, it seems, a hangover from Cut Copy’s initial rise to popularity in the summer of 2005, when self- proclaimed hipsters everywhere clutched debut release Bright Like Neon Love to their fashionably clothed breasts.

Something of a herald for the day-glo dawn of Nu Rave, Cut Copy were emerging at around the same time as fellow indie dance act Hot Chip, but while Alexis Taylor et al were wowing us in dear old Blighty, Cut Copy were mainly making waves in their native Australia.

Recruiting Gallic dance genius Phillipe Dzar of Cassius and Phoenix fame on production duties, they had created something from the realm of ubiquitous robot heads (and tour mates) Daft Punk, but something that was still just far enough below the popular radar to be considered ‘cool’.

Three years later and for whatever reason, Cut Copy have not quite enjoyed the success of the Chip, but they are touring a new, and rather good, second album, this time produced by DFA’s Tim Goldsworthy.

The aforementioned hat wearer is trying to remain calm at the prospect of seeing them perform it live, but, try as he might, he is failing miserably, and ends up right at the front, giggling like a schoolgirl.

Around him is a sell out Scala crowd, simmering with excitement in an atmosphere more club than gig, and when Cut Copy arrive, they nearly boil over.

The band sound much more raw in the flesh, without the vocal distortion but boasting some truly scuzzed up My Bloody Valentine guitars over heart thudding beats. Quite frankly, they sound even better.

It doesn’t all start at 100 miles per hour though, and initially, lead singer Dan Whitford comes across as Neil Tennant moonlighting with New Order.

Of course, that’s no bad thing, but as they throw in a couple of obvious crowd favourites from their debut like Saturdays and Future, they seem to begin enjoying themselves, and the entire room unites in a pogo with hands aloft.

New album track Lights and Music is already anthemic, and recent single Hearts On Fire (unfortunately not a cover of John Cafferty’s Rocky IV song) closes the main set superbly as hundreds holler and stamp for an encore.

Of course, they get it from the grinning band and for a little while longer we’re back in that giddy electro-disco-indie-pop bonanza they have created so well.

On this evidence, that second album is well worth a purchase, because while one indoor sunglasses wearer can most certainly be wrong, the hundreds of people leaving with smiles on their faces don’t seem to be.

[story by Tom Atkinson]