Image by Kirstie Shanley
Chicago's got a crush on Sons and Daughters' Adele Bethel
September 6, 2008, at the Double Door
By Amy Formanski
Published: September 8th, 2008 | 3:30pm
It started as a typical night at the Double Door in Chicago: Folks sipped beers at the bar, groups of friends mingled near the stage, and others played pool downstairs. But when Glasgow's Sons and Daughters hit the stage, the energy in the room exploded into full-on party mode. Frontwoman Adele Bethel declared, “I'm glad it's Saturday. Now you can all get really fucked up!” And although alcohol definitely lubricated the crowd's enthusiasm, the room really crackled with excitement because of the superb rocknroll.
Starting with “Goodbye Service” off their latest album This Gift (Domino), the band attacked each song with a mix of giddiness and fierce attitude. At the end of their first number, drummer David Gow stood atop his kit and clicked his sticks together to the beat as the crowd roared. He deserved the attention he drew, but all night everyone's eyes were glued to Bethel, who wore a Leonard Cohen T-shirt–turned–halter dress with leopard-print heels and gold-sequined gloves. Her sparkling green eye shadow would liken anyone else to a drag queen, but it fit Bethel's pixie punk image. She fretted that she couldn't possibly be taken seriously while wearing so much body glitter, but added that she hoped that the Cohen T-shirt would balance things out. It did.
She needn't have worried about the fans questioning her credibility. Unlike the moody-yet-precious sounds of fellow Scots Belle & Sebastian and Camera Obscura, Sons and Daughters delivered blistering post-punk songs with a spooky edge that made the crowd shout with adoration. While it didn't damper her authenticity, Bethel also didn't need her attire to help her hog the limelight. Her raw charisma, whether singing with a wicked smile during “Rebel With The Ghost,” or smacking her band mates on the head with her tambourine, flowed naturally. She's a petite, porcelain-skinned diva akin to a brunette Blondie, yet she seemed like she could've beat her mates to a bloody pulp if she so chose. When one girl behind me wistfully muttered, “I love you,” it vocalized the instant crush the entire audience, including my boyfriend, had formed on Bethel.
The band cranked out one thrilling, acidic rocker after the next. The dirty thump of their current single, “Gilt Complex,” vibrated across the entire dance floor and the crowd responded by dancing feverishly. While still offering an edgy guitar riff and sinister lyrics, “Darling” showed off a retro, almost girl-group sound. Played as the very last song of their encore, “Chains” took the ’50s pop vibe even further. Bethel and guitarist-vocalist Scott Paterson shared vocals on the gem, which included a rockabilly guitar line and a classic theme of heartache. When Paterson announced, “This is our pop song,” Bethel rolled her eyes and smiled at the same time.
Did her sheepishness indicate that the band is uncomfortable with the more radio-friendly turn on their newest album? Ain't no shame in crafting timeless music, especially for a band that blends rock, punk, and new wave so effortlessly. They nailed ear-candy melodies one minute (“Dance Me In”) and inserted a dark song about “going completely fucking insane” (“House in My Head”) the next. Their unique style completely charmed the crowd. Before the encore, an audience member bought the band shots, and they seemed surprised by the kind gesture. But it was just a grateful fan's way of saying, “Thanks for the fucking great Saturday night.”
Issue #25
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