The tension was tenuously held tightly until ‘Sofa Surfing’ surged through the sound system. Opening with ‘Salt’ the crowd was already bouncing, with the occasional casual thrust of a forearm as the forearm of the frontman removed his mike-stand, this was to be a moving gig highly involved in the beloved interaction between band and crowd. The greenly lit stage cast the onlookers onto the verdant meadows of the Emerald Isles on this Paddy’s Day, a most fitting day to be given the company of Enola Gay’s Irish start, such a setting was perfect for the events that unfolded. Such a gig, with such a stimulating sound was to be what was required to burst through into bodily freedom.
There was a definite urge of the crowd as they impatiently waited in the most polite English manner for Enola Gay to come forth after what we knew that after our serene Summer that COVID had in fact not ended after its closing but were had been coerced into more months of biding our time. If given the chance, you should head aggressively to their forthcoming shows with “NO SURRENDER”. It must be stated with the utmost sincerity that Maruja and Yabba possessed a near diplomatic ability to rush the crowd into an intense frenzy before Enola Gay graced the stage. It was, as I later found out, their first showing in England after attaining a noisy recognition from the likes of Fred Perry Subculture, Iggy Pop and SXSW.
A summer where I serendipitously stumbled upon Enola Gay at the 100 Club.
A summer where the sun finally shone as it appeared initially to the masses that COVID had finally ceased to exist. As YES Basement erupted in an enthralling energetic release, I could not help but cast my memory amidst the joy to the previous summer.