Kira Mac /Jayler - The Camden Underworld 10th May 2024

It’s not often that the buzz around the support band comes close to overshadowing the headliners  but Jayler are unquestionably making a name for themselves on the live circuit. Tonight they open for Kira Mac at the legendary Camden Underworld in North London. Traditionally, all young bands will cut their teeth on poorly lit cramped stages and it’s apparent that Jayler will be no exception to the rule. It’s a rites of passage akin to a Navy Seal assault course, designed to separate the weak from the strong. But as any seasoned musician will tell you, these trials and tribulations teach essential lessons to any artist still learning their craft. 

It was an early kick off and the punters were still making their way into the venue when the four fresh faced teenagers took to the stage. A line up consisting of James Bartholomew on lead vocal and guitar, Tyler Arrowsmith on guitar, Ricky Hodgkiss on bass, and Ed Evans on drums. The star quality within this band is obvious before they even play a note. Arrowsmith, which has to be one of the most rockstar names I’ve ever heard, looks like he came out of the womb holding a guitar. Blessed with good looks and amazing hair he is every inch the guitar hero. Bartholomew is a unique entity, not only is he a natural frontman, but he looks equally comfortable with or without a guitar. A rare quality and I’m struggling to come up with an obvious comparison. A lot of singers hide behind their guitar but this is certainly not the case for Bartholomew. Throughout Rock history the dynamic tension between lead singer and lead guitarist makes the stuff of legends. Page & Plant, Jagger & Richards, Tyler & Perry, Slash & Rose, Bon Jovi & Sambora, Roth & Van Halen, the list goes on and on. Magical things are destined to happen when the universe mysteriously brings these kindred spirits together. You would have to be deaf, dumb and blind not to see the obvious chemistry between Arrowsmith and Bartholomew. Granted, it’s still in its embryonic stages, but even so, the potential is glaring you in the face. I would have to go back decades to name an emerging UK rock band that possesses this kind of iconic potential. 

They open with ‘Acid Rain’ and immediately grab the audience’s attention. This is the Classic Rock band the UK has been screaming out for. Previously, I had seen them play in Wolverhampton, which was pretty much a hometown gig for them. But a London show is a daunting prospect for any band. I detected a slight apprehension and tentativeness at the start of their performance but as soon as they heard the applause at the end of the first song any nervousness they might have had was immediately eased. The opener was closely followed by ‘No Woman’, which gave real insight into what this band could develop into. A song built around a melodic bluesy guitar riff supported by powerful drums and a groovy bass line. Bartholomew delivered a top line melody that makes me suspect he has been listening closely to his parents' record collection. Yes, it's a tried and tested formula, but it’s one that never seems to go out of fashion. Music is all about the execution and in execution you find originality. The legendary bands of the 70’s set the bar so high they made it almost unreachable for anyone else to get close to, but that has been the irresistible challenge to so many hopefuls throughout the decades. 

As more and more people came into the venue the applause at the end of each song got louder and louder. Arrowsmith and Bartholomew are both accomplished guitar players equally capable of delivering high quality solos. Their confidence was growing as the set progressed and the flamboyant showmen within them started to come out. Arrowsmith knows every pose in the book and at one point Bartholomew was soloing with the guitar behind the back of his head. This is a band that has two potential guitar heroes. Visually, the dynamic duo dominate the band but in Evans they have a powerhouse drummer who plays with a lot of flair and Hodgkiss is both melodic and groovy in equal measure. Together they make a solid rhythm section perfect for the band's style of music. They were given a criminally short amount of time to perform but within their allotted 30 mins they won over everyone inside the venue. I hope they learn from this experience and in future insist upon at least a 40 min slot where they are the support act on a two band bill.

At the moment this is a band all about potential. The real question is whether they have the dedication, commitment and intelligence to take it to the next level and beyond. For that to happen they are going to need the right team working for them. This means the right manager, the right agent and the right promoter. They also need to be playing to a much younger audience as this is a band for the next generation. But first they will need to work on their songwriting and find a producer that understands how to capture the essence of their music without homogenising it.

I for one hope they succeed on all counts. 

The venue was packed to the rafters when it was time for the headliners to perform. Through years of hard work Kira Mac have built up an extremely strong and loyal fanbase. You could sense their anticipation, and when the band took to the stage it was obvious this wasn’t an audience that would need winning over. 

The last time I saw Kira Mac perform they were a five piece with two guitarists. Circumstances have streamlined them into a four piece with a single guitar player. The new line up consists of Vernon Lee Whitmore on bass, Loz Riley on drums, Joe Worrall on guitar and of course Rhiannon Kira Hill on vocals. They opened up with ‘Save Your Whiskey’, a song that set out the stall for everything that followed. A big guitar riff played over a powerful drum and bass groove, with a passionate vocal delivery sitting on top.

Rhiannon has been blessed with the gift of music. She cuts an imposing figure, standing well over 6ft in boots, dressed head to toe in black, and crowned with a mass of long blond hair with black highlights. She appears totally relaxed, and singing looks as natural to her as breathing. Her endearing persona exudes charm, confidence and charisma. She engages openly with her audience and being onstage is clearly a place where she feels at home.

The following three songs ‘Dead Man Walking’, ’Play The Game’, and ‘No Way Out’ firmly establish their own particular brand of rock and roll. The up-tempo ’Scorned’, with its colourful lyrics and catchy chorus tagline is the stand out song of the set up to that point.

After five back to back rockers it was time for a change in dynamic. The rhythm section had discreetly departed to leave Rhiannon and guitarist Worrell, who was now armed with an acoustic, sitting centre stage. As a duo they performed four songs ‘This Time’, ‘Say Something’, ' Whiskey On You’ and ‘Ride The Lightning’ acoustically. This kind of intimate environment is where Rhiannon looks and sounds the most comfortable. This bare to the bone approach allows you to hear all the nuances of her vocal delivery; subtleties that can be easily lost when having to compete with the ferocity of a rock and roll band. For some artists performing a song where you are so exposed and vulnerable would be a terrifying prospect, but this is certainly not the case for Rhiannon, who positively strives under such close scrutiny. Throughout this entire section the audience were held completely captivated. The ability to perform songs in this manner is one of the band's greatest strengths. On reflection, the acoustic section was for me the highlight of the whole show. Personally, I would have placed it one or two songs later in the set, but that’s just my humble opinion.

The rest of the band returned to the stage and normal service was resumed with a surprising but enjoyable cover of Alannis Morrisette’s ‘You Oughta Know’. This was followed by ‘Hit Me Again’ and ‘Hellfire And Holy Water’, two of their strongest songs. ‘Never Gonna Stay’ offers something different to their other compositions because it's written in a blatantly major key, which makes it a stand out song within the set. Personally, I like it when Rhiannon sings this type of fixed melody and makes me wonder why there aren't more of them within their repertoire. They finished their main set with a crowd favourite, ‘Mississippi Swinging’. A song that encapsulates everything that Kira Mac are about. They left the stage to thunderous applause and their devoted fans showed their enthusiasm by demanding a well deserved encore. 

‘Farewell’ an up-tempo rocker was followed by ‘Climbing’ a song with a structure and arrangement different from the bulk of their material which brought a welcomed contrast. 

The final song of the night was ‘Downfall’, which for me is the song that allows Rhiannon to perform at her optimal. The key of the song and the placement of the melody are perfect for her. It features the most dynamic melody line I’ve heard her sing and is in my opinion the best chorus they’ve written to date. It’s always a smart decision to leave your best until last. 

Judging by the reception they received when they bid their farewells it’s safe to say that no one left the venue feeling short-changed.

Under difficult circumstances I would say that tonight's gig was a triumphant success. This has obviously been a challenging time within the Kira Mac camp. Losing three band members and integrating two new ones is not an easy or enjoyable thing to do. But it’s part and parcel of a musician’s life so best get used to it. Famously, it has been said that only the strong survive, but maybe, only the people that can endure and overcome the most bullshit will stand a chance of surviving, is a little closer to the truth.

Myke Gray