Given the extensive media coverage and the mysterious aura that surrounds them, it would be futile to deny the high level of anticipation for these first American shows by Bar Italia, an indie rock trio hailing from London that has amazed enthusiasts and industry experts with their minimal and evocative music.
The post-punks made their North American live debut on Tuesday June 13 at TV Eye in Queens, the first of five sold-out NYC shows for the group. In keeping with their enigmatic image, the band didn’t say a word to the audience, no “hello,” “thanks” or “goodbye,” but sounded terrific. I attended their performance at Public Records in Brooklyn.
As an expat, I can’t help but be vaguely intrigued by the name: a quick Google search confirms the existence of numerous venues with this name, scattered across various metropolises around the world. With a bit of imagination, it’s not difficult to envision these spaces where a nostalgic atmosphere blends with coffee, gelato, and Italian products, often influenced by local culture over the decades.
And indeed, apart from the suggestive name and the Roman origin of lead singer Nina Cristante, the references to Italy end there for this trio. Listening to “Tracey Denim,” their latest release on the prestigious Matador Records label, distinctly British references immediately come to the forefront, from Stone Roses to Slowdive, and including Everything but The Girl and The Cure.
After performing on the stages of Europe’s finest clubs, including a notable appearance at the renowned Primavera Festival in Barcelona, the band makes its way to America. Once I arrive at Brooklyn’s “Public Records,” I realize I’m not the only one who doesn’t want to miss them. The concert, like the others spread across New York and Los Angeles, has been sold out for several days.
The show begins: the guitar notes of “Changer” fill the room, accompanied by Nina’s dreamy voice. In the second track, “F.O.B.,” we also hear the voices of Jezmi Tarik Fehmi and Sam Fenton, the remaining two-thirds of the group. The nods to The Cure become even more apparent, as their voices bear a striking resemblance to that of the famous Robert Smith.
“Missus Morality,” the fourth of the eight songs performed during the show, relies almost solely on a simple guitar riff and Nina’s vocals, guiding us towards the captivating and dynamic “Nurse!,” which is also the first single released from their aforementioned latest album.
The show concludes with the energetic and audience-acclaimed “Punkt” and “skylinny” from their previous work, introducing the older material to the new audience.
As the concert nears its end and I sip a Negroni, I can’t help but notice a slight analogy between the music of Bar Italia and the drink itself: we all know the ingredients, and we know how important it is to balance them to avoid something overly heavy and indigestible. But the three Londoners skillfully mix their musical cocktail, resulting in a velvety and elegant experience even in live performances, with a bittersweet aftertaste.
If you’re a fan of this genre, I highly recommend not missing out on experiencing them, both on record and live: see you all at Bar Italia!
