Photo: Press
“We’re Frankie Cosmos. Thanks for watching us and being cool – we love it here.” It’s telling that Greta Kline (aka Frankie Cosmos) doesn’t use the moniker to describe just her, more the whole band – she’s a definite team player. She’s also had her first shower on a plane that morning: “I got totally naked on a plane. I recommend it.”
That sort of rock star luxury (if you can call showering on a plane luxury) is indicative of her band’s up-and-coming-ness – they’re in demand on both sides of the Atlantic. And they don’t let us down. ‘Fool’ is truly beautiful in its simplicity, Kline’s haunting vulnerability cut through with perfect harmonies from her bandmate Lauren Martin; ‘Too Dark’ is heart-wrenching, as Kline delicately refrains: “Do I belong?”
The harmonies on ‘I’m 20’ are warm and pitch-perfect; ‘On The Lips’ and ‘Sinister’ showcase Kline’s almost Cranberries-style vocals, in a way that doesn’t come across on record. A track I can’t identify, where David Maine (brother of Aaron Maine aka Porches) is on bass, is a standout in terms of sounding different to the rest of the set, with a grooving heavy bassline.
At one point Porches join Frankie Cosmos on stage for a twee choreographed dance, showing how close the two outfits are: Kline and Maine are in a relationship (they used to write poetry together, which is pretty damn cute) and play in each other’s bands.
When Porches take to the stage for their set rather than a dance routine, Maine looks hazy. “London,” he says, “I can’t get over it. It’s a bit overwhelming.”
He’s a charismatic, compelling frontman, his fluid, droopy moves seem organic rather than staged, the auto tune, so unusual for an indie band, adding depth and a pensive sadness and idiosyncrasy to his voice – the absolute converse of the effect on mediocre pop tracks.
Porches’ swooping synths create the moody atmosphere of a dark '80s brat pack movie – more Less Than Zero than Ferris Bueller's Day Off. And in pure '80s style, they’re not afraid of the odd meandering guitar solo – nor should they be. During ‘Be Apart’ we could be on a club dancefloor; then with ‘Underwater’ we’ve moved to the chill-out room. ‘Headsgiving’ from 2013’s Slow Dance in the Cosmos is chaotic and epic, heavier, a change in mood – more lo-fi and guitar-led rather than synth-led.
They may have broken out of the same niche New York DIY scene, but the two bands are moving in totally different, totally interesting directions, amplified by seeing them live and back-to-back. Porches are the synthpop show-stoppers; Frankie Cosmos the heart-breakers.
