The Reverend Peyton’s Big Damn Band are a force to be reckoned with, even if the band actually isn’t very big - and the only three instruments are a guitar, a washboard and a drum kit with a plastic pail. The band debuted an unreleased track called “Rattle Can” -a funky, loud number with a wicked electric solo at the end-and played a few new ones, including “Ways and Means” and “Too Cool To Dance.” “Washboard” Breezy Peyton was a giddy co-star, happily grooving from side-to-side and adding soft backing vocals to the Reverend’s husky, intense belt. The Reverend Peyton, lead of the Big Damn Band, is surly and unassuming, until his fingers hit the neck of the guitar with lightning speed to create an aggressive, weirdly astounding deep bluegrass sound. Floyd traded his guitar for the banjo on “Strange Position” -and though the lyrics delved back into an intricate mindset, a playfulness surrounded its mid-to-up-tempo beat and Nelson’s kickback, meditative new outlook. The anti-war track was released as the only single from their 1980 album Organisation and it directly addresses. “High Wind” offered a faithful, existential optimism, complemented by the nostalgic sound of the pedal steel, a Nashville staple played by instrumentalist Adam Kurtz. Enola Gay is a song by British synthpop group Orchestral Manoeuvres in the Dark. “Tell me there’s a reason/ Standing in the way/ I’ll keep on believing until I go insane,” Nelson narrated with somber, eviscerating vocals. The opening track, “All I Ever Do,” was hard to read, as frontman/guitarist Andrew Nelson and guitarist/harmonist Blount Floyd navigated a range of dark emotions from optimism to stubborn anger found in the trenches of almost-love. Nashville-based Americana troupe Great Peacock were warmer, with a sated, contemplative setlist plucked from their recent album, Forever Worse Better.
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Two unreleased, untitled tracks followed in a similar delivery, hinting that the young band has the kind of rigid, steadfast self-assurance needed to make important music not everyone likes to hear. The song is named after the Enola Gay, the USAAF B-29 Superfortress bomber that carried 'Little Boy', the first atomic bomb to be used in an act of war, dropped on the Japanese city of Hiroshima on 6 August 1945, killing more than 100,000 of its citizens.
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Relevant and real, Reilly’s anger is almost necessary as he fumed about racism in Belfast and systems of oppression “You’ll never kill our will to be free, cause in our minds we hold the key,” the surly vocalist rampaged with a thick tongue. Find popular songs in the key of Dm Convert to the Camelot notation with our Key Notation. Like all forms of protest, their sound bordered on the line of unpleasant and haunting, and yet people couldn’t turn away. Frontman Fionn Reilly’s vocals on “The Birth of a Nation” were angry and wounded as he raged over a rattling bassline and the scream of thrilling, grungy, distorted guitar. With just one song in their discography, Enola Gay has nothing to lose.