Doves' tight, airysound sets it apart

September 14, 2005|Globe Correspondent

There was a time when Coldplay seemed like nothing more than a Travis wannabe band and thus a Radiohead copy twice removed. Things are different now, of course -- world domination will do that -- and if a band like Doves can't explicitly claim Coldplay as an influence (the two are contemporaries, after all), it's hard to argue Doves isn't dwelling in that band's shadow.

The spacious anthems that Doves played at Avalon Monday didn't do a whole lot to dispel the comparisons. Songs such as ''Snowden" and the British B-side ''Eleven Miles Out" made the Manchester band sound like Coldplay Jr. The latter song in particular was a ''Clocks" sound-alike, though drummer Andy Williams helped push the song toward a more chaotic destination.

What differentiated Doves was its broodiness, while its booming drums and vaguely psychedelic tinge (aided by the cryptic, impressionistic films projected onto the screen behind) recalled the atmospherics of New Zealand's Straitjacket Fits. Bassist Jimi Goodwin's voice split the difference between Coldplay's Chris Martin and Fits singer Shayne Carter, adding a layer of Liam Gallagher-esque drawling and coating it with reverb so dense that his words didn't end so much as die out in the air.

Jez Williams's guitar was given the same treatment, filling the room with echoey single notes as longtime touring keyboardist Martin Rebelski filled in the gaps. Despite an airy sound, the band was tight and powerful enough to make up for some of the less engaging material such as ''Caught by the River," which featured guitar, drums, and lights coordinated in a furious bash out. When Doves focused on stronger songs such as the upbeat and triumphant ''Some Cities" and ''Here It Comes" (which saw Goodwin taking over drums so that Williams could sing and play harmonica), it gave an indication of how the band might eventually forge its own path.

Opener Longwave played a 45-minute set that sounded like a shaggier version of Killers playing variations on Cheap Trick's ''Speak Now or Forever Hold Your Peace." Despite help from a few vocal fans, the crowd's applause was more polite than enthusiastic, and the band's use of noise and feedback to accompany its songs ultimately signified nothing.

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