By Anayo Eltringham Onuora
Following the release of Vona Vella’s second studio album, Carnival, the band steps away from their hometown in Nottingham to perform at The Jacaranda in Liverpool.
The venue is dimly lit, hidden beneath the facade of a lively, yet unassuming record store. The stairs to the basement are hidden towards the back; faded posters with peeling corners scatter the walls, showcasing an array of gigs that have previously been held at the venue.
The room’s low ceilings and compact floor space both add to the charming, intimate nature of The Jacaranda.
Vona Vella’s sound shines brightly from within the Jacaranda’s musical cavern. The five-piece band fills every inch of the stage, as wires and amps weave between their feet. The set opens with ‘I Wanna Tap Into Your Heaven Again,’ extending the track’s intro into a chorus of rampant drums and guitar crescendos.
The band’s vocalist, Izzy Davis, is accompanied by the swelling melodies of Vona Vella’s guitarist, Dexter Howell, as she begins playing a flute melody that entirely captivates the crowd. The melody flows seamlessly into the rest of the track and sets the tone for the rest of the set to follow.
‘Bass Driver’
The performance continues with an accelerating vigour; Jake Botts’ crashing drum cymbals dance with fleeting flute notes on ‘Bass Driver,’ a swampy, riff-heavy track from Carnival. ‘Bass Driver’ captures what Vona Vella does best – combine softer, mellow-driven melodies with energetic and intense rhythms.
Playing with consistent key changes, clunky chord progressions, and varying vocal deliveries, the track is arguably Carnival’s most experimental. It also resonates strongly with the crowd, who belt lyrics out at the band. The sound ricochets and echoes across the venue’s walls.
Despite the compact nature of the Jacaranda, personal space doesn’t exist here. The audience scrambles over each other, eagerly taking turns to reach the front of the stage. Crowd members lingering behind hurl themselves onto tiptoes in attempts to catch glimpses of the band, who deliver a frenzy of catchy interludes and energetic guitar licks.
A softer sound is established for the next few tracks as the set blooms tenderly with ‘Exit Plan.’ The rest of the band turn silent as Izzy Davis stands solo, accompanied only by the gentle plucking of her acoustic guitar on this track. A wave of compassion sweeps over the crowd, mesmerised by the angelic tone of Izzy Davis’ voice as she lullabies the crowd.
‘Exit Plan’
‘Exit Plan’ combines gentle vocal harmonies with bittersweet lyricism, exploring themes of heartbreak, isolation and disillusionment. This contrast creates a saccharine portrayal of defeat and conveys the unmet expectations that can cloud modern relationships.
However, the performance’s tender soundscape and profound intimacy perfectly sum up just some of the reserved delicacy that hides within Carnival.
This saccharine tone carries over to Vona Vella’s next track, ‘Brand New Boy,’ an upbeat, indie-pop ballad that flips ‘Exit Plan’ on its feet. ‘Brand New Boy’ instead reflects feelings that touch on the idea of a new partner being ‘too good to be true,’ and self-sabotaging a seemingly perfect relationship as a result of insecurity.
The band plays with echoing vocals and reverb-laden guitar chords that chime effortlessly throughout. Familiar sounds from ‘Exit Plan’ return to close the track, as isolated vocals send the crowd into a trancing daze.
‘Carnival’
Stepping away from Vona Vella’s subdued interlude, Carnival’s title track regains a livelier, spirited air from the crowd. The iconic, racing flute melody opens ‘Carnival,’ as an addictive drum beat dances with a rolling guitar riff and bassist, Claud Melton’s addictive bassline.
Dexter Howell joins in on the vocals for this track, combining both male and female harmonies to add balance to ‘Carnival’s’ composition and create depth. His contributions receive whoops and cheers from the audience as he smiles shyly beneath cheerful melodies, radiating with humility.
Vona Vella’s set masters the complexity of polarity; between lashing melodies and subdued demonstrations of elegant vocal harmonies, the band maintains an unshifting stage presence. They are unphased by the concept of flawlessness; their imperfections add to the rawness and honesty of the show’s disposition.
The audience remains immersed in the band’s bold and adventurous nature, and Vona Vella illustrates this through the expressive simplicity of weightless vocals, rampant drum grooves and polished basslines that engulf the room.
