MOTHER MOTHER + CRAWLERS – BRIGHTON DOME 5.3.24
It was a wet, cold Tuesday evening when I arrived outside the Brighton Dome to find an orderly queue waiting patiently at both entrances, stretching down both ends of the road. This is not wholly unusual for a busy gig at the Dome. The difference here was the queue consisted of a noticeably young crowd chatting excitedly without complaint in the drizzle. Once inside, the bar was sparse with most of the audience gathered around the merch desks at either end of the venue foyer. It had been a while since I had been to the Dome, but something was tangibly different about this gig and not just the age bracket of the crowd.
After nine albums Canada’s Mother Mother has found a new generation of young enthusiastic fans via TikTok and rediscovered a more authentic way of crafting their material. ‘Grief Chapter’ the band’s ninth studio album encompasses big-picture concepts including life, death and mourning. You might assume this would result in maudlin inward-looking material, but the result couldn’t be further from the truth.
A playful and cheeky approach underscores the overarching themes, mediating life, death and grief while bringing a lightness of touch and positive feel where less deft hands it could have resulted in a bleak listening experience. Live they are the kind of band I would love to stumble across at a festival with catchy crowd-pleasing tunes that have masses of appeal. An extremely charismatic, tight and seasoned band whose multiple musical references feel familiar enough to embrace new fans as well as old ones. I am glad that I managed to catch them in a more intimate setting.
First, let’s turn to the first band of the night, Crawlers. As I entered the main Dome auditorium, I was surprised to find the stalls standing area almost half full in anticipation of the support band. A few hardcore fans are not unusual claiming a place front and centre in front of the barriers, but this was something different. Spirits were high, with a palpable buzz building in the audience chatting excitedly among themselves. The gathering audience was as young as those I had seen around me in the queue outside. The unexpected fervour that the band had inspired in the young audience in an in-store event in February this year indicated that Crawlers were a band to watch. Which Is why I had made the point of catching them on a recommendation.
Crawlers are turning out to be something of a phenomenon having achieved over 80+ million streams to date of their 2022 mixtape – ‘Loud Without Noise’. Formed as a trio with Holly Minto on vocals and guitar, Amy Woodall on guitar and Liv May on bass while at university in Liverpool in 2018, initially focusing on creating a grunge-rock sound learning the craft and building a fan base playing live locally. Then they gained a drummer in Harry Breen after he wrote a (favourable) review of their early track ‘Hush’. As a newly formed four-piece, they rapidly amassed an organic fanbase that would help them become touted as the UK’s ‘next big crossover alternative act’. Then like just about everything in the entertainment industry the onset of COVID almost put pay to this.
Rather than stopping the band in their tracks, the imposed lockdown gave them time to polish an already lauded act, hone their skills, foster collaboration, and allow for a new vulnerability to emerge among the bandmates. Minto believes “this is their biggest strength as a unit – total emotional transparency with each other as a unit informed the lyrics in this album”. In September 2023, their single ‘Would You Like To Come To My Funeral’ was launched as Radio 1’s ‘Hottest Record in the World’ following on from their earlier single ‘Messiah’ which launched on Radio 1’s ‘Hottest Record in the World’ in June last year. Their track ‘Come Over’ which Holly calls. “A raw depiction of a toxic relationship”, became a viral hit in 2021.
‘The Mess We Seem To Make’, is the first full studio album after the band’s two acclaimed mixtapes. It covers a range of topics Minto says, “of the ‘general goings on of a young person’s life.’ Trauma, sexual politics, mental health, feelings of loneliness, insecurity, and toxic forms of dependence”. On reflection, Minto sees “a clear theme of depression, distrust and vulnerability, but also one of recovery – not providing perfect solutions, but learning to be okay with the journey, to find glimmers of hope in the dark”.
The album deepened their ongoing relationship with the LGBTQIA+ audience. Three bandmates openly identify as queer with Harry, their “favourite ally”. They are proud to have created music that speaks authentically to both their own identities and a wider need for inclusive environments.
As the lights dimmed in the Dome auditorium there were screams from the audience at the first sign of the bodies arriving on stage. The fever pitch and screams increased as the intro music started, and the band filed on stage one by one. Starting with Harry Breen back centre on drums, Liv May on bass stage left, Amy Woodall on guitar on stage right and finally Holly Minto, lead vocalist centre stage.
The first song ‘I Don’t Want It’ from their 2022 ‘Loud Without Noise’ mixtape. Every interaction from Minto draws an enthused response from the audience. When she asks that the entire crowd in the stalls pogo, they all do without hesitation. The close of the song encourages yet more excited screams and cheers.
It had been a while since I’d attended a live gig at the Dome, and even more since I’d worked in festivals and events, but I’ve honestly not seen a crowd arrive so early or be so enthused for a support act. By the end of the second song, ‘Hit It Again’, from their much anticipated first album ‘The Mess We Seem To Make’, released on the sixteenth of February 2024, the auditorium stalls were pretty much full, and the crowd seemed word-perfect on every track. The enthusiasm from the audience is unrestrained and joyous, matched only by the band’s obvious pure joy at playing live.
The third song, and second played from the new album, ’Kiss Me’ starts slow with the kind of heavy bass line bass I love. The crowd sing the chorus back at Minto almost without prompting. When Minto asks if the crowd are also excited for Mother Mother, they respond positively and enthusiastically, suggesting a perhaps surprising cross-over of the audience.
Song four ‘Messiah’ has a reassuringly heavy drum beat under Minto’s vocals. Still, more people file in looking to fill the sparse areas left in the stall’s standing area. Minto is an extraordinarily strong lead vocalist; she knows how to control the audience and the stage and has an obvious rapport with her bandmates. I noticed there were even people pogoing and screaming at the back of the stalls. Minto has a much huskier vocal performing live than the album, which for me is preferable.
The next song starts with a heavy, heavy deliciously chewy bass line. Holly asks the audience “Do any of you have an ex-best friend who’s a f**king bitch now?”, the response is unsurprisingly affirmative. Breen builds the beat as Minto tells the audience to “get love and make some noise”, resulting in the whole of the standing area pogoing and screaming in unison.
Minto tells the crowd that the next songs are about an ex-best friend followed by an ex-partner, they respond with joyous glee. The band kicked into ‘F**k Me (I Didn’t Know How To Say)’ from the 2022 Mixtape ‘Loud Without Noise’, followed by ‘Better If I Just Pretend’ from the new album. I am not sure which was addressed to which Ex as the lyrics are ambiguous enough to work for either on both songs. I noticed that the circle seats (from my angle) were full, and the back of the stall’s seated area was gradually filling rapidly, again unusual before the main act.
The next two songs follow again from the new album ‘Kills Me To Be Kind’ and ‘I End Up Alone’ also feature the same ambiguity, which works incredibly well as they can resonate with multiple situations and people. For the last song, ‘Come Over Again’ Minto gets the audience to light up the torches on the back of their phones and sing along which they do with the kind of word perfect enthusiasm and volume which confirms Crawlers are going to be huge.
CRAWLERS:
Holly Minto (she/they) – vocals and guitar
Amy Woodall (she/her) – guitar
Liv May (she/they) – bass and vocals
Harry Breen (he/ him) – drums
CRAWLERS setlist:
‘Intro’
‘I Don’t Want It’ (from 2022 ‘Loud Without Noise’ EP)
‘Hit It Again’ (from 2024 ‘The Mess We Seem To Make’ album)
‘Kiss Me’ (from 2024 ‘The Mess We Seem To Make’ album)
‘Messiah’ (a 2023 single)
‘F*ck Me (I Didn’t Know How To Say)’ (from 2022 ‘Loud Without Noise’ EP)
‘Better If I Just Pretend’ (from 2024 ‘The Mess We Seem To Make’ album)
‘Kills Me To Be Kind’ (from 2024 ‘The Mess We Seem To Make’ album)
‘I End Up Alone’ (from 2024 ‘The Mess We Seem To Make’ album)
‘Come Over (Again)’ (from 2024 ‘The Mess We Seem To Make’ album)
Mother Mother
The audience assembled for the headline act of the night Mother Mother, appeared to have largely remained in place from before the interval. This wasn’t surprising due to their popularity on TikTok. The band has found themselves a new audience in a new generation many of whom won’t have been born when they brought out their first album ‘Touch Up’ in 2007. However, I did notice the gaps in the stalls and circle were now filled front and back with more long-time fans. The atmosphere was slightly more restrained, but still buzzy for the main act of the night.
The set started with a heavy build from Ali Siadat on drums from Mike Young and vocals that we don’t hear again for the duration of the gig sounding more like death metal than the lighter harmonies that will follow. Molly Guidemont and Jasmin Parkin appear in identical dresses behind their keyboards, (which have legs that synchronise up with the lighting rig). Finally, lead vocalist and lyricist Ryan Guidemont appears and opens with the first from their new and 9th studio album. ‘Grief Chapter’, ‘Nobody Escapes’.
‘Arms Tonight’ (from the 2008 ‘O My Heart’ album) delivered a bouncy light-hearted change of pace, and swayed into a short solo from Parkin, who delivers a stronger vocal when not harmonising with the softer vocals of Molly. The crowd sings along confidently with the catchy chorus.
‘Hayloft II’ (from 2021’s Inside) reminds me of Muse’s instrumentality throughout. The infectious chorus is again sung at volume enthusiastically by the audience.
‘Matrix’ is the second song from the new album and my favourite of the night. Though the main lyric of the chorus does start to remind me of something else… it’s then that the band smoothly segway into the classic Pixies track ‘Where Is My Mind’ answering my question before returning to finish on the heavy instrumental of the track. Next up is ‘Problems’ from 2011 ‘Eureka’, an altogether entirely pop/rock offering with a definite possibility of becoming an earworm for days.
It’s at this point Ryan interacts with the audience telling them that the hour is upon them and that they’re, “going to play their f**king hearts out”, (not that they haven’t been doing so previously) as tonight, is the audience’s night! He knows how to work his audience, and though used to a bigger audience post-lockdown will ensure that every show is stadium-worthy.
Next up is ‘Oleander’ another track from 2011’s ‘Eureka’, which is a little more downbeat, which suits the tone of the lyrics. ‘Explode’ the fourth song on ‘Grief Chapter’ is another catchy-as-hell track, and perhaps one of their most accessible.
At this point, Ryan chooses to address the audience saying, “It feels like magic with you it feels like medicine for the soul for you.”. Then changing tone slightly, but keeping it upbeat, he says “People ask me, (and to Molly), “What’s it like being in a band with your sibling?” He continues, “To which I think she’d say, ‘It’s a pain in the arse’, and I agree, but it’s also a privilege. So, I’d like to introduce you to the first song I ever wrote for her…”
This track turned out to be ‘Sleep Awake’ from ‘O My Heart’. It’s a welcome departure from the earlier bombastic stadium pleasures. The track features a solo from Molly before returning to softer harmonies with Jasmin. The feel is altogether more personal but was no less of a crowd pleaser for it.
At this point, the band left the stage briefly. On return, they were alerted to a member of the audience in need of attention by several others around her with their arms raised. Ryan requested security to attend, which they did swiftly along with other members of the Dome front-of-house staff. Luckily, it appeared to only be a matter of dehydration.
The matter dealt with, Ryan chose to thank the support band the Crawlers and was met with screams of enthusiasm as loud as they had been all night. Here the band treat the crowd to an acoustic medley further underlying their ability to take on and master multiple styles. Returning to their catalogue ‘Oh Ana’, from 2007’s ‘Touch Up’ is very much more upbeat, (despite the subject matter). The crowd again responded enthusiastically clapping along without prompting.
The band moved to the front of the stage which offered a more intimate feel, and the audience became more actively appreciative. Ryan was very effusive about the Dome and the audience, which went down very well with all concerned. When he asked who was seeing Mother Mother for the first time the hands that rise seemed initially to outweigh those who are returning. This seems at odds with the volume of vocal appreciation from returners.
I had assumed the next track would be a cover and was looking forward to seeing how it would sound in their hands. Sadly, I was wrong, but not disappointed! with ‘Wrecking Ball’ from 2008’s ‘Oh My Heart’, which even features a little ragtime in the middle. The band break the song in half and get the audience to air punch along. Which they did with enthusiasm.
Starting with a call-and-answer ‘The Stand’ from 2011’s ‘Eureka’ reflects on disillusionment whilst making you want to dance, the kind of contradiction I like. ‘Verbatim’ has an intro that sounds like the start of TLC’s scrubs, here Ryan’s delivery sounds a little like Jack White, possibly down to the distortion.
Now the band returned to a familiar refrain (be it slightly altered) breaking into the start of ‘Hay Loft’, which features a hefty amount of instrumental. It is then that an interesting segue begins with Jasmin taking over for a solo version of Lana Del Ray’s ‘Video Games’ which her admirably strong vocalisation made short work of, ably supported by the unsurprisingly word perfect audience.
Departing from this brief interlude the band cranks back up to stadium-level volume to reprise
the end of ‘Hay Loft’. For many that would have appeared to have been the end of the encore, but true to their earlier word the band wanted to play their hearts out for this audience. Making a brief disappearance the false end before the actual encore. The audience was left shouting for more and clapping while chanting to the tune of ‘Hay Loft’. Briefly disappearing they make a return to play two more tracks and rapturous applause.
Ryan took the opportunity to thank the ‘touring family’, the staff at the Brighton Dome and the people who, “…built this thing?”. He then checked on the person who passed out earlier. The crowd answered in the affirmative, but he did not hear. Waiting a little he then told the crowd he had received confirmation that the girl had recovered over his earpiece.
The next song was the title track from the new 2024 album ‘Grief Chapter’. Ryan tells the audience how he found the name of the album and the title track. “During a conversation with a fellow musician friend, a songwriter in his seventies who had noticed many of his friends and family were dying around him”, he explained. “We were texting, and I told him, ‘It sounds like you’re in a real grief chapter,’ and right away both our ears pricked up. It felt like a title for a song, so we began writing it, using exact words and descriptions from our text threads.”
The track started with Ryan alone on acoustic electric joined by both Molly and Jasmin harmonising. For me, this was one of the most pleasing parts of the show and felt the most honest. It benefited from being parred back greatly.
Finishing the set with ‘Burning Pile’, from 2008’s ‘O My Heart’, very much a wind-down track ensuring the audience leaves on a high. Though many were trying to leave to get trains and buses home the lure of another track kept them there if even to catch just one more photo as they reluctantly make their way out of the door.
Mother Mother:
Ryan Guidemond – vocals
Molly Guidemond – vocals and keyboards (sister)
Jasmin Parkin – vocals and keyboards (brunette)
Ali Siadat – drums
Mike Young – bass
Mother Mother setlist:
‘Intro’
‘Nobody Escapes’ (from 2024 ‘Grief Chapter’ album)
‘Arms Tonight’ (from the 2008 ‘O My Heart’ album)
‘Hay Loft II’ (from 2021 ‘Inside’ album)
‘The Matrix’ (from 2024 ‘Grief Chapter’ album) with ‘Where is My Mind’ (Pixies interlude)
‘Problems’ (from 2011 ‘Problem’ album)
‘Oleander’ (from the 2011 ‘Eureka’ album)
‘Explode’ (from 2024 ‘Grief Chapter’ album)
‘Back To Life’ (from 2008 ‘O My Heart’ album)
‘Bit By Bit’ (from the 2012 ‘The Sticks’ album)
‘Body’ (from 2008 ‘O My Heart’ album)
‘Sleep Awake’ (from the 2008 ‘O My Heart’ album)
“Acoustic Medley”
‘Oh Ana’ (from 2005 ‘Mother’ album)
‘Wrecking Ball’ (from the 2008 ‘O My Heart’ album)
‘The Stand’ (from 2011 ‘Eureka’ album)
‘Verbatim’ (from 2005 ‘Mother’ album)
‘Hay Loft’ (from 2008 ‘O My Heart’ album with ‘Video Games’ (Lana Del Ray interlude)
(encore)
‘Grief Chapter’ (acoustic) (from 2024 ‘Grief Chapter’ album)
‘Burning Pile’ (from 2005 ‘Mother’ album)
