Dark Arts, Super Friendz’ all-day event for post-punk and indie fans, returned triumphantly and saw the gig room at Belgrave packed with a sea of heads. That’s what happens when you put Courting on the billing as headliner, I suppose…

While there had been a number of talented artists on before them, we’d only managed to get there later on. That meant in time to watch the delightfully cheery Home Counties set up their gear and take the crowd by storm.

Short version: the synthy six-piece served non-stop fun. They’re a three-Korg-strong arrangement, and they didn’t shy away from shaking tambourines or whacking cowbells. They’ve got a niche that also delivers up to four vocal harmonies at once, including the deliriously captivating male and female contrasts. These multi-instrumentalists were just as pacy at Deer Shed last year, too; they understand how to come armed with festival-level enthusiasm. 

Although there was uproar when ‘Bethnal Green’ came on, I actually thought ‘Uptight’ and ‘You Break It, You Bought It’ were even stronger. Plus, as a total coup, we got to hear two box-fresh tunes as well.

After just having released their third studio album, titled the obnoxiously long ‘Lust for Life, Or: ‘How to Thread the Needle and Come Out the Other Side to Tell the Story’’, Courting were the much anticipated main headliner. They’d done record signings in Leeds during the day, and you could tell they were eager to perform. So I felt bad for them when they hit a few tech difficulties, which resulted in a delayed start and a shorter set. Their frontman furiously chewed a lot of gum in prep. But they did a grand old job in the end.

You may recognise the stage name of these fellas from a previous Live at Leeds: In the Park review here on Record Weekly. But as they were younger and less accomplished back then, it was great to detect they’d been on such a rewarding musical journey since; honing, shaping and refining. Despite their unfortunately rushed display, they sprang into action following the cinematic walk-on of the aptly chosen ‘Rollback Intro’. The beautiful strings, which begin the new album, were well-received, before we got into the medley of indie-rock belters, often-autotuned vocals and cowbell-studded singalongs.

There was loud elation when old bops such as ‘Tennis’ came on, while so many folks were jubilant at ‘Pause At You’. They retained the fun factor and dynamism you’d expect from this livewire band, and I hope to catch them again soon. 

With thanks to Super Friendz for the press access.