REVIEW: The Strypes @ Brighton Music Hall 03/28

Hailing from Cavan, Ireland, mod/blues revival band the Strypes played Brighton Music Hall on Wednesday, their first time in Boston since 2014. They are touring their third studio album Spitting Image (2017), as well as later EP Almost True (2017).

Given their reputation as an energetic live act, The Strypes did not disappoint. The band members’ ages are only 20 to 22, singer Ross Farrelly being the youngest, which adds a youthful charm to their performances and an energy older bands strain to achieve.

After an hour and a half of cycling through a playlist including the Clash, the Jam, and Dr. Feelgood, the Strypes walked on stage with no opener. Indiana native Peter Oren had been tagged as support for this tour, but apparently since dropped. With bassist Pete O’Hanlon cracking a quick joke about the show’s billed title (“An Evening with the Strypes”), the band launched into their fast-paced cover of Hambone Willie Newbern’s “Rollin’ and Tumblin’,” off their debut album Snapshot (2013). Clearly a song to show off their musicianship rather than songwriting ability, it heavily features guitarist Josh McClorey performing multiple solos. Listening to him play is one thing, but seeing his hands move is another experience entirely. Their ages make this amount of talent all the more impressive.

Without a break between songs, the band smoothly transitioned into “Eighty-Four,” a track from their second album, Little Victories (2015), with a much more Arctic Monkeys-inspired sound than Snapshot. This song features McClorey and Farrelly both on vocals. When McClorey takes the mic, Farrelly, tambourine in hand, falls into step with O’Hanlon, joking around and making up choreography on the fly to keep himself busy before returning to the mic. These moments of humor make their live act even more entertaining, especially for those who are only casual listeners of the band.

The setlist carefully balanced tracks from each album, often grouping them together for smoother transitions. The only song played off Almost True was “Freckle and Burn,” a brilliant XTC-influenced hard rock song written by O’Hanlon and drummer Evan Walsh. As Almost True has not yet been released in the United States, O’Hanlon quipped, “In a very shrewd move, we have bootlegged ourselves,” referring to the pile of bootlegged EPs at the merch table. The song bursts with energy particularly at the bridge, which features synths in the recording that were replaced by guitar when played live. At the end of the song, Walsh had a moment to shine as he launched into a brief but powerful drum solo, that smoothly led the band into another McClorey-Farrelly duet from Spitting Image, “Easy Riding.”

The band then slowed it down for the blues song “Angel Eyes,” which had not been played live since their Snapshot tour. Before the crowd lost any energy, O’Hanlon asked, “How would yous feel about some fast songs?” Checking the setlist, McClorey quickly corrected him, playing a riff from not-so-fast “Behind Closed Doors.” O’Hanlon laughed off his mistake (“In a bit!”) and they quickly came back with the Spitting Image single, particularly popular for its brilliant music video directed by Finn Keenan, who has been directing their videos since their first EP, Young, Gifted, and Blue (2012).

Following “Behind Closed Doors” and later single “Great Expectations,” the band then took it back to Snapshot (“Now it’s time for those fast songs!”), bringing up the crowd’s energy with “Mystery Man” and “What A Shame,” a single which the band played on Letterman during their first American tour in 2014. “Still Gonna Drive You Home,” a highly interactive song with a very Western feel, and crowd favorite “Scumbag City” finished off the set before the band walked off stage with a wave.

Minutes later they returned, somehow even more energized, with Nick Lowe cover “Heart of the City,” followed by another electric solo by Walsh. O’Hanlon and McClorey step to the side to give the audience a full view of Walsh, while Farrelly sits down in front of the drum set, laughing and shaking his head at their drummer’s sheer talent. Walsh then transitions into the irresistibly catchy blues song that made their careers, “Blue Collar Jane.” The show ended at a mere 10 p.m., but a good portion of the crowd stayed far longer to meet the band afterward. I spoke with each member about the show, the tour, and the album, and despite their success and talent at such a young age each member is extremely humble, and more than willing to enter into a full conversation, giving each fan individualized attention. Listeners should expect new music by 2019, as Walsh said they will not be making the festival circuit this summer in favor of writing the next album.

-Zoe Salvucci