Bar Italia
Band on The Wall, Manchester
May 1st 2024
Louder Than War’s Amelia Fearon takes to Manchester’s Band on The Wall to review London’s latest most-hyped band to watch, Bar Italia.
I recall the first time I heard Bar Italia, sometime last year, their track, F.O.B, played out in an overly-priced vintage store somewhere in the Northern Quarter in Manchester. Frantically digging through my bottomless tote bag, past the books and remnants of last week’s Tesco meal deal – I finally located my phone to Shazam the track before it faded away.
F.O.B, from their full-length album, Tracy Denim, was everything I loved in a song by a guitar band. As a die-hard Interpol fan, I had finally discovered another band capable of filling the heart-shaped void left by Carlos The instant familiarity with the “Interpol” sound — moody basslines, cigarette-slurred vocals, and vacant guitar riffs —pulled me into Bar Italia. After searching about the band to find out more, it was surprising to discover that my instincts were correct, as Bar Italia were signed with Matador—a label with whom Interpol has a longstanding relationship. As I stumbled upon the band’s photos, I also couldn’t help but admire their look. Those who claim that a band’s appearance doesn’t matter are being dishonest. It does.
Perhaps I’m guilty of romanticising the New York aesthetic (I am) — the hipster blazers, shirts that transition from corporate to post-work dive bar, and those iconic wide-frame geek glasses. But after what has felt like an endless wave of shouty post-punk music sported by Carhartt beanies and Dickies work pants, finally emerges a geeky-chic guitar band with mainstream attention. Pulling off the Jarvis co*cker look isn’t easy, but Bar Italia out of nowhere, sport the NME cover-style with flair.
I was looking forward to seeing Bar Italia at Band on The Wall in Manchester, and it was interesting to see the room buzz with a diverse crowd— young hipsters with long unwashed hair, cool girls rocking oversized pants, and even individuals from the older generation. Jezmi Fehmi (vocals/guitarist), Nina Cristante (vocals), and Sam Fenton(vocals/guitarist) arrive on the stage suavely dressed to a chorus of cheers, whistles and call-outs, accompanied by a brief chant of the band’s name.
They begin to play without uttering a word to the crowd. It’s hard to say whether Bar Italia’s lack of interaction with the crowd stems from their collective ego, or if it’s a deliberate move to cultivate that ‘mystique’ that makes a band seem effortlessly cool. However, regardless of the intention, it didn’t seem to have had the desired effect, as the crowd appeared to split into an ‘us’ and ‘them’ dynamic at times, which isn’t ideal for a newer band trying to connect with their audience.
Some songs really engaged the audience, in particular: My Little Tony, Punkt and Nurse!, while some others were lost in indulgent stage dynamics. It’s understandable; I chalk it up to the band still figuring out what works best for them, the dichotomy of how to not give ‘too much away’ and still be likeable. However, not introducing songs or talking to the audience made the performance a very passive watch. One that at times I felt myself drop out of as I tried to lock back in.
My Little Tony has that open-ended, psychedelic drone of Tomorrow Never Knows by The Beatles that carried wonderfully live. It’s a perfect song from a modern rock band – the raw guitar, gritty big drums and Nina Cristante’s well-spoken Jane Birkin vocal style all pulls together live. Punkt, once again, captures that brooding, late-night post-punk ambiance that I adore, the shared vocals between the three members work just as effectively live as they do on record. None of the vocalists in the band are stand-out singers, but somehow, the awkward delivery really captures their style in a good way.
The band’s sound wasn’t exactly top-notch, but I can’t help feeling that Band On The Wall might not have been the ideal venue for Bar Italia. The intimate, sweaty, moody vibe I was hoping for just didn’t quite carry. Add that to the lack of crowd engagement, and band interaction and the whole experience felt a bit sparse at times. Bar Italia could definitely lean into the allure of an exclusive, members-only club vibe if they wanted to, but it would only work if they have the backing of the crowd. It’s all about clarity— the audience needs to understand what the band is about; otherwise, they’ll feel just as adrift.
Bar Italia are a good band. A great band, in fact. They’ve captured my attention, as well as that of many others. I loved them on first listen. Tracey Denim and The Twits are both solid records, and it’s no wonder Matador signed them. They stand out as London’s next big thing, and after all, cool kids like cool bands.
Bar italia are certainly that, but it would be great to see them thrive in venues where the audience gets it, too. They have an interesting future ahead of them.
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You can find Bar Italia on their website and Instagram.
Amelia Fearon is a creative music writer based in Manchester. You can see more of her work at her authorprofilefor Louder Than War. Youcan visit her socials on Instagram and Twitter at @empireofamelia.
Photos by Hels Millington, author profile is here – you can find Hels photography at Facebook
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