Reviewed by Paul H Birch & photos by Paul May
On stage the duo that is Candar whack out a healthy enthusiastic sound, meshing rock, indie-pop and psych-grunge elements with the lack of prejudices that only the young can.
From my position, the angled position of Finn McAuley’s drumkit can only be partially viewed, a bob of wavy dark hair dips in and out between cymbals, the taught precision of his drumming however in little doubt. Across the way, at the microphone stand, Ella Crossland sings and plays predominantly rhythm guitar chiming away melodically, while occasionally programmed effects pull in a sprinkle of keyboards and backing vocals. “We’re here to warm you guys up” she tells us somewhat self-depreciatively. She’s blond, often looks shy, but there’s also a coyness present and she’s not afraid to bop around the strange when not singing, also importantly lyrically it seems she has something to say.
‘Opera’ stands out, being about the soap dramas of ego, while what could a distorted Roy Orbison murder ballad sung by a French chanteuse (albeit they’re from Devon) is intriguing and they have an EP available on cassette for those wishing to relieve themselves of a bit of cash and help support independent music. Individual but anthemically cheery in tone, Candar possess charm and did their job well, warming the audience up nicely for what is to follow.
Acoustic musings evoke images of plaintive bayous several hundred miles due south of their homeland, as five stout Canadians – calling themselves The Commoners – having crossed the Atlantic once more stroll towards their positions on stage.
Casually muscles begin flexing as guitars are strapped on, there’s the look of minds focussing – and if truth-be-told, caught mid spotlight, bass player Ben Spiller and vocalist Chris Medhurst look a little tired, and I’m hoping they’ve not succumbed to our English weather, this rainy winter’s night. Then, with a whip and crack of electric energy pouncing out from the PA, chords crash warmly, a bass rumbles, and Medhurst cries out “Oh – Oh, yeah…! and we know all is good in this neck of the world tonight.
Amid racing rocking, staccato strutting, and a bit of slower anthemic self-evaluation we get ‘Gone Without Warning’ as declared statement of integrity with much-applied intent. There’s a quick declaration about how it’s good to be back here in Wolverhampton from Medhurst, but drummer Adam Cannon’s not hanging around and sustained guitar notes from guitarist Ross Hayes Citrullo follow his lead. Earnestly they proceed to explore a lengthy atmospheric intro of Zeppelin-styled arrangement before the hefty cranking riff of ‘The Way I Am’ plants itself firmly down our lugholes, Medhurst pouring smooth delicious vocals, stirred by gospel harmonies and the applause that follows telling the band they’d be hard-pressed to have started the show with a better song pairing.
Citrullo emits a wail of feedback, and, as he holds his guitar aloft, I admire how he’s able to pull off such a poised cool look while wearing a pair of bright red flares here at the dogend of 2025 – Such strides probably haven’t been worn in the heart of the Black Country since Slade got all dolled-up for their In Flame movie. As such, it proves the introduction to a new song tonight in a Humble Pie bolshy staggered rock manner, that goes by the title of ‘Running Away’, that’s followed by brand new single ‘Just Watch Me’ with red lights bathing the stage as Medhurst pleads, preaches and confesses at several turns, gesticulating throughout this gospel rocked power ballad that relates the ups and downs of life on the road, as once more I query the physical tiredness of band members but how their passion for what they do and their audience’s reaction pushes them to the next level.
Romanticised thinking on my part? Who knows. The fact is these guys continue to deliver. Sure, I know the between-song patter they offer may be little different between each town they play but I’m happy to buy-into their earnest heartfelt ethic when they perform so well – Despite which, when white lights bath down from above as Medhurst strikes a tattooed Christ-like pose it’s mere chance, me thinks. Either way, Cannon’s telling us how we roll tonight: a round of drums finds space for a rumbling bass to roll steadily within, while the guitar does a nice turn on the jazzier end of Allman Brothers-styled slide guitar before slicing out thumb-picked sustains and furious bloodcurdling riffs being invoked. Citrullo roams the stage, occasionally mimicking old Jimmy Page moves, then trading melodies and licks with Miles Evans-Branagh – whose keyboard contributions have been inobtrusive but emotive thus far – but delivers with gusto here, especially when he solos on electric piano.
Medhurst who’d exited the stage is now back on guitar-in-hand, Citrullo raises his right hand aloft and the band proceed to shift into first gear rocking away in double time before sidestepping in a southern manner with the guitarists leaning back-to-back playing in unison, as slowly the riff that’s been nagging away but not fully formed springs out like a viper and reveals itself to be the ‘Devil Teasin’ Me’. The song worms itself through various moods: soaring one minute, ruminating the next, gentler and ornerier by turn, with passionate screaming or gravelly pit-of-stomach bellows throughout, all performed tastefully, right down to the brief conclusionary drum solo.
“You guys sure look like you’re having a good time,” Medhurst calls into a mic, his other hand wiping sweaty strands of hair from his face. “Well, the good times, they ain’t over yet!” he declares as the moody epic that is ‘Too Soon To Know You’ roams our way. Lines of bodies shift side to side in sympathetic motion through the crowd as onstage Spiller and Evans-Branagh sing in gorgeous manly harmony, while sweet crooning, empowered emotional cries, and an expressiveness that’s akin to Robert Plant in his prime, has me nodding to myself that this is one of the best singers out there today. Again, keyboards and guitar stir things up, imbuing it all with groove, power, and the kind of melody the song warrants; slowly edging towards its climax, the rhythm section acting as impassioned heartbeat before perched on the edge of the stage the frontline draws the song to its end.
Guitar changes ensue as Evans-Branagh’s piano plays and Medhurst begins stumming an acoustic while singing ‘Restless’, the band joining with strident slow power, harmonies somehow sadly comforting despite their repeated acceptance as they utter the lines: “Just how it is” while the various vocal turns taken by their front man are enflamed with a passion far surpassing this song’s narrative ennui. It’s partnered straight after by ‘See You Again’ as if contemplating regret towards the previous song’s theme while moving at a similar slow pace, an acoustic opening with the band weighing once more after the initial verse. ‘Alive’ is next, piano taking the role of organ on record. Can you have too much of a good thing? Apparently not tonight because the three songs work collectively, and we’re feeling the love in these tales of wanderlust, and the potential for it being quenched by finding the woman who’ll be there when “life’s a bitch”.
Adding a brand new song that also tends towards the slower side of things might be a step too far/ Also, most bands today shy away from playing new material ahead of album releases, not least because dodgy mobile phone footage with poor sound can put people off purchasing the eventual release that helps keep a band alive. However, ‘Searching (For Something)’ draws from outside the band’s usual influences as simply by the choice of its chord structure it sounds like something that could have appeared on some vintage Genesis album. No, I know that doesn’t make sense, but it’s what my ears heard as the song’s earlier arpeggios played out, before moving into what one might roughly term raga-rock territory.
Time to pick up the beat once more we get ‘Ghosts On The Highway’, all heavy strutting with a little funk, band members forgoing their gentle swaying of the last batch of number for more bopping and weaving about the stage. They’re a two guitar strong band again for ‘Fill My Cup’ one of the band’s early numbers that caught our attention on these shores – There’s grind and swagger to the six strings, organ weaving away, the rhythm section punctuating it all, as the crowd sing along with Medhurst. Citrullo once more begins to lose himself in Page-likr stage moves between extended soloing, the rest of the band grooving and smiling in beatific satisfaction with each other. Inevitably, ‘Find A Better Way’ follows, the audience clapping along in time to Cannon’s drum beat all save a line of woman who commandeered much of the front two rows early on, and are shaking their booty like the weekend’s just begun. Musically, the band perform effortlessly, there’s blues and soul, the song stomps loud and clear; its classic rock riff crisp and fresh, the harmonies calling out proudly in their supportive declaration of the song’s theme as Medhurst makes out like he’s Steve Marrriot’s deeper-pitched lovechild.
Having wiped the sweat off our brows this December evening we begin to clap, and The Commoners return to the stage for the singular encore of ‘Shake You Off’ – It could have been their opening number, performed with vigour, a melange of Stones, Faces and Black Crowes rock and roll swagger; it leaves you begging for more, but up at the mic Medhurst declares “You’ve been a great crowd – Thank you!” and slowly, with reluctance, we head out into the night, expressing our enthusiasm to each other.
“I’m singing for my life” Medhurst sang during ‘Alive’. I’m a believer. The Commoners, one of the best bands performing live today. Canada should be proud.
