In a dimly lit, low-ceilinged music venue, a densely packed, impassioned audience slung locally-sourced IPAs through the throngs of fellow active listeners and participants. The atmosphere was entangled with an excited buzz, as there was a sense of experiencing something new, and vital, to the music scene that represented the tides of change in rock music. As the lead singer and guitarist of Hinds stepped into the swarm of head-bobbers, the mass encircled, wanting to be a piece of the action, desiring to be able to say, “I was there.”
In “Meet Me In The Bathroom,” Lizzy Goodman’s recount of the resurgence of the rock and roll scene in New York City in the early 2000s and the bands that were vital to this process, a similar scene is depicted. Goodman’s collection of interviews and quilt of stories paints a vividly honest and unrepeatable scene, comprised of notoriously angsty and brilliant artists, like Interpol, Ryan Adams, Karen O, Beck, Jack White and, notably, the Strokes.
The Strokes were intrinsically linked to this scene. The band created an atmosphere of needing to be there – to understand what the band was about and who they were, joining in on the hoopla was essential. The band’s story was told in person as they interacted with each other, their sound, their audience, and their instruments.
On Saturday, I was able to see Hinds, the all-female, four-piece garage rock band from Spain with emblazoned personalities and a feisty spirit at Birmingham’s Saturn. The band is comprised of Carlotta Cosials on guitar, Ana Perotte on guitar, Ade Martin on bass and Amber Grimbergen on drums. Albert Hammond Jr., lead guitarist for the Strokes and striped-suit-wearing rockstar – and he certainly does qualify as a rockstar – opened for Hinds, which may seem like an ill-conceived line-up, but in fact it was brilliant.
Hammond began the night by shooting out of a rocket, essentially. The audience was ecstatically present as Hammond zoomed through a beautifully crafted setlist, weaving throughout the members of his band and spinning the microphone through the air as if it were a gymnast.
While Hammond played, the four members of Hinds eased their way into the audience, singing every word, seemingly astonished to be touring with an entity such as Hammond. I’m a huge proponent of bands being listeners and advocates for their touring partners. I mean, why would you not want to experience the other creators that drive the music industry forward?
As Hinds took the stage, it was immediately clear through the band’s bursting energy and enthusiastic smiles that they fully loved every moment of making music together. Cosials and Perotte clearly have an affinity for guitar, specifically loud guitar, while harmonizing in an angst-ridden fashion.
The band is touring prior to the release of their new album, “I Don’t Run,” out on April 6. Two singles, “New For You” and “The Club,” have been released in anticipation of the new album. The singles hint at the band’s further exploration with garage rock, the clanging guitar is a bit louder, the tracks are a bit more raw, the lyrics a bit more shouted. This description of Hinds’ singles can also be applied to the Strokes’ first album, “Is This It.”
Hammond opening for Hinds suggested something very exciting for the music scene. Just as girls and girls swarmed to the Strokes in an uncontrollable fashion, so did they to Hinds. The unspoken coolness and impeccable music made listeners want to be a part of what was happening, the what being the revival, or renewal, of rock music. Hinds has a parallel feel, but what’s happening is that women-led bands are taking center stage and people are excited about it.
Hinds and Hammond are vital players in a scene change. A door is being opened on a reinvented sound and it’s unbelievably exciting. The electric nature of seeing a band like Hinds or the Strokes vibrates through the room and audience members can’t get enough of the performance. While the Strokes brought rock back to the forefront of culture, Hinds is bringing women to the forefront of rock, which rocks.
