Kid Kapichi Live at Rough Trade Nottingham

Words: Tom Gensler

CREDIT : Chris Georghiou   

Kid Kapichi are one of the UK’s most unrelenting and busy alternative acts.

Famed for intelligent, social-commentary-forward vocals through a punky, abrupt,

and sometimes even bordering on comedic, tone. Their latest album, Fearless

Nature, which was released 16th January, is their most introspective and

mentally lingering album to date. Whilst the positive abrasiveness and social and

political commentary is definitely still present, there’s a new, deeper, sonic undertone.

A big bit of context for the new album is that half of it was written before two

bandmates, guitarist Ben Beetham and drummer George Macdonald, left the band in

a complete shock exit to frontman Jack Wilson and bassist Eddie Lewis. This

explains both the differing sonic path this album takes in comparison to the older

stuff, but also the lyrical content, which often has an air of sadness and acceptance.

It’s a much more emotional and resonant record than others, taking their sound and

changing it slightly but taking the emotions and feelings and pushing them into new

depths that often make you question yourself when listening. It's, at times, a solemn

and staggering but poignant and acceptance-dwelling listen, and it's completely worth

it. This is Kid Kapichi like you’ve never seen, or heard, before. As part of the album

cycle, the band have embarked on an intimate in-store tour with an acoustic set up,

alongside new live members Lee Martin on guitar and Miles Gill on drums. The

band made a stop at Nottingham’s Rough Trade, where we caught them.

The band walk out onto the stage with a sold-out crowd staring straight back at

them. Jack laughs, taking the crowded sight in, and then settled into his seat. The

band begin with the opening track of the album, Leader Of The Free World, which is

the most politically open song on the album. It's sombre and reflective, yet biting and

current; a dark birdsong in the sky of the modern world. The acoustic setup works

very well for this song, heavily complimented by Jack’s adoption of a vox-like

microphone with lower-end tones. The combination of these give the song’s lyrics an

aged, lived-in feel, simultaneously making the song feel like it's been around forever whilst also giving it a newer presentation that allows the song to be effortlessly translated from the recording to the live setting. I know that this setup is different due to it being an intimate tour but this is an absolutely excellent way to play the song, and I’d be interested to hear what it would sound like with the heavier stage format they employ. This song perfectly sets the mood for the brilliant and introspective set to come.

Another thing about this new album is that it slightly leans into post-rock at times,

with more ambient elements and more lingering themes, ideas and sections. This

is a welcome change, as it allows them to express their ideas in a differing

way that really provokes thought, which perfectly fits the band’s ideologies and

sounds. This could be to do with the lineup change and therefore change of creative

direction, but all I know for sure is that it really works for them, and sets this album

apart from the others.

Intervention, the album’s second song, is haunting, yet funky, live. The way the

band are playing these newly deeper and often darker songs one after the other is

really admirable, and it's important. What’s also really charming to me is Jack’s

interactions with the crowd between songs. One memorable exchange was him

noticing a girl on the front with cigarette earrings, endearingly asking if he could

smoke them, to the response of a warm crowd laugh.

A big thing about this set is just how well these new songs translate to the

intimate setting, which is far removed than the normal vibe of Kid Kapichi. This

shows the resonant and resounding nature of their songwriting, and how naturally

they fit into this live space is a true testament to the band’s songwriting and creative

abilities.

Stainless Steel, the lead single and first of the album cycle, was a highlight of the

set. Stainless Steel feels exactly like an older Kid Kapichi song, just aged and worn

slightly, in the best way, like aging a new guitar to make it appear older; all of the

content is there but the form and structure are just slightly different, and this song is all the better for it. It bears a funky rhythm paired with potent, dissonant guitars, alongside the band’s trademark social commentary. In addition to all this, the song has a dramatic, cinematic buildup that works really well in the live space. This song is truly remarkable, it’s a no-brainer as to why it's the lead single, it really represents the album as a whole.

In the segments between songs, Jack shares some very interesting insight into

the album, saying that it's “different from anything we’ve done before, but I can say its

authentically us.” This really sums up the album, it feels so authentic and raw, yet

different and emotionally charged, without pulling any punches but being subtle in its

jabs and big moments. It's an impressive sonic work.

He also says, whilst talking about a review of the album, that “we do know where

we’re going, and we ended up exactly where we wanted to be. This is, like I say,

authentically us. When you’re going through what you’re going through, at certain

points, you either embrace it, and make art, and write about it, or try to cover it up,

and I tried to run head-first into it, so I’m proud of it, it’s a cathartic record for me to

listen to, and I hope, I actually hope it's not relatable, but if you’re going through stuff

like that, it can help and that it is relatable for you.” This is said in reference to the

behind-the-scenes lineup changes and how that impacts the album and how it

should be heard, as well as the band’s creative direction.

After this speech, they tear into Dark Days Are Coming, which was half written

before Ben and George left, and half after. Jack talks about their relationship, saying

that it bordered on the symbiotic and, in reflection, that at times it wasn’t really the

best for any of them, but he doesn’t have any bad blood towards them. These insights really change the listening experience, transforming these songs into deeply personal and highly resonant pieces.

Penultimately, they play If You’ve Got Legs, which Jack says is his favourite to

play from across the whole album. It's more aligned with the classic Kid Kapichi

sound and energy, and really leans into the bands character and group ideology, it’s

a joy to hear and really shows the band’s musicianship.

They end with the beautiful Rabbit Hole, the album’s closer, which again has this

resonant and dark energy but really helps the album to voice itself, providing a

poignant window into the band’s inner worlds.

Overall, this was a fascinating, intoxicating and emotional set from Kid Kapichi.

They really made full use of the instore format, using it to both showcase their new

songs and give a unique insight into each of them, helping to both make this

extremely memorable and completely shift the listening experience of the album. I

cannot recommend going to see them enough, and I also heavily recommend the

new album.