Cowtown

Wharf Chambers

Support: Objections and Señor Pink 

Brudenell Social Club. Centre of the universe. Nathan’s house. 

I could write an endless declaration of love for this venue: sharing its stories; celebrating its character; highlighting its impact on elevating the international reputation of the Leeds music scene. It is a spiritual home for Stub writers, readers, The Denim Sheriff, Johnny Marr, John Dwyer, Jon Spencer and… Jonathan Nash. 

For those unfamiliar with the name, Nash is a Leeds guitar hero and supermodel for three-quarter length trousers. Alongside Hilary Knott (bass synth /vocals) and David Shields (drums), they make-up Cowtown – one of Leeds’ longest running DIY bands. Sharing the stage together for over 20 years, their journey as a band has run in parallel to the growth of the Brudenell. In my infancy as a gig goer, Cowtown felt like the Brudenell’s house band. In years to come, I started attending gigs purely on the premise of a Cowtown support slot. Whilst credit is due to The Cribs for raising the profile of the Brudenell, it is Cowtown who were slogging it week-in-week-out during the transition from a social club to a music venue. Truly the unsung heroes of Leeds DIY, as a community we owe this band. Let’s raise a glass to another two decades of DEVO-disco-dance punk.

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Opening tonight’s proceedings were Señor Pink. Unlike the name, the six-piece are deceivingly junior in appearance, and yet total experts in their craft. This level of professionalism is imperative, as the band claim that taking on Wharf Chambers on release day for both their new single and the Minecraft movie will be a challenging endeavour. The new single is titled ‘What goes up, must come down’ and is the band’s loudest offering tonight – with a grimy groove driving the track forwards alongside a breathless northern chorus of ‘better than eating, better than sleeping, better than...’. The other tracks that make up Señor Pink’s set have clear jazz and prog-rock influences. I’ve often found that this normally entails a seven-minute-long dick swinging contest between a guitarist and drummer. However, not one of Señor Pink’s songs feel too long or self-indulgent, and their strong understanding of pacing helps them stick the landing. 

Objections are the latest Leeds supergroup to grace the pages of Stub Quarterly, featuring members from Bilge Pump and Beards. Sprawling drum patterns and jerky bass lines lay the foundation for a band who are blissfully reminiscent of Shellac. This commendation, however, is overshadowed by my sheer admiration for Claire Adams’ ability to play complex bass riffs alongside lead vocals. If four chord punk pioneers like Sex Pistols empowered people to form a band, Objections will make you reconsider. Their intentionally irregular time signatures are fascinatingly alien, as is their use of unconventional instrumentation such as a 12-string guitar and an oscillator straight from the back rooms of the TARDIS. 

Cowtown set-up to the sound of Foxygen’s ‘Make it Known’, a criminally underrated number that should feature on every pre-gig playlist. It is a masterclass in building anticipation and euphoria, even if these sensations were subsequently quashed by the implosion of Nash’s guitar amp. This was one of a pair of moments tonight that would usually dampen a band’s confidence, the other being a serial tambourine thief in the crowd. However, if there’s one band capable of surviving and thriving through a technical hiccup – it’s Cowtown. 

Interwoven amongst tracks from their latest album “Fear of…” (inc. ‘Total Engagement’ and ‘Wonderboy II’) are a sprinkling of fan favourites. ‘Buggin’ Out’ is played at a blink-and-you’ll-miss-it pace, with Nash paying homage to David Byrne by rooting himself to the floor, locking his body and rotating like an android. ‘Ski School’ is respectfully old skool and features a bouncy, pogo-inducing riff that even the biggest of introverts couldn’t resist dancing to.

Cowtown’s twenty-year partnership has fostered a beautiful chemistry, and this gifts us a rare onstage spectacle – a band who smile. Humour and an awkward charisma are central to their live shows and, whether intentional or not, there’s always at least one belly laugh at each gig. Whether that’s through Hilary cracking a joke (Son: “Dad did you ever get shot in the army?” Dad: “No, I got shot in the leggy,”) or Nash serenading us with a brief rendition of Bob Dylan’s ‘Mr Tambourine Man’. 

Cowtown bleed with an infectious positivity that spreads through their audiences effortlessly. They are the party starters, and everyone is invited.

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“If you’ve ever seen a giant bovine in the night sky over LS6, that’s the cow-signal. Nathan Clark uses it to summon Cowtown whenever he’s had a last-minute support dropout” (unknown male, overheard in the Brudenell Smoking Area, circa 2016)

Words by Magnus Pike

First picture: Vincent Lee (@vicentleephotography)

Second and Third Picture: The Editor