Review: The Schmoozenbergs, The Wardrobe Theatre – ‘The good times never stop’

If there’s one thing that Bristol does ridiculously well, it’s furious musical cross pollination.

Where musical styles go, the welcome mat is always out, the kettle’s always on, there’s a bottle of wine open and everyone (and everything) is always welcome.

It stands to reason, therefore, that The Schmoozenbergs, a Gypsy jazz, klezmer, folk-ish, francophone four-piece, would pack out The Wardrobe Theatre on a drizzly Tuesday.

It stands to reason that they would have us racing around, peeking into other worlds and other times, would have us tapping toes and grinning from ear to ear.

Having not played in this cosy theatre on Old Market since launching their last album, in 2019, they are keen to play new stuff. And lots of it.

First, though, there’s a groove to find, a stride to hit. To begin, they ooze French charm, a Parisian-cat-on-the-prowl violin slinks along, pursued by two careening guitars, it chuckles, weaves, dodges, and then, with a click of the heels, shoots off, over rooftops.

Gina Griffin is masterful with fiddle in hand, Sam Stennett and Tom Brydon-Smith her hapless, brave pursuers.

“Well, that should blow the cobwebs away”, puffs Stennett, regathering for another old favourite.

Cortisol Swing could be from the Hot Club, it’s a cat and mouse caper that adds Ron Phelan’s springy double bass, some serious whooping and a hefty dose of klezmer swing.

P’tit Vin Rouge follows, a woozy, dream-y groove that echoes sun-drenched Paris evenings from years gone by. It’s wildly, insanely infectious, it’s impossible to sit still to.

Once the old favourites are out of the way the stage is set for some new ones. Stennett apologises at one stage that The Schmoozenbergs no longer just play traditional Gypsy Jazz.

There’s no need to apologise when their melting pot throws up so many delicious treats.

Captain Headspin has such a relentless, bouncing bass groove that Griffin has kicked her shoes off and is padding around the flower strewn stage.

Her fiddle leaps around all over the place, skirts flying, whilst the guitars creep, Spy-vs-Spy style, from shadow to shadow. Finally, the Gallic stew is spiced with a twist of something Latin, an Argentine fragrance.

The good times, the need to dance, just never stops.

Equally Latin, equally feline, equally unstoppable is Tango ’20. Slinky and sensuous one minute, filled with reckless abandon the next, it’s a tango that would trouble the most practiced of legs.

Another, unnamed, new one has Stennett unveil his grandfather’s guitar, a beautiful thing that inspired him to play, he uses it to fill the song with a funk-filled urgency.

This is the soundtrack to a 70s cop show, transposed to Paris in the early part of the last century. It’s funky and French, chic and cool.

There are so many highlights but three new tunes stand out and point The Schmoozenbergs in a different, exciting direction.

Shadows starts with those perfectly dueling guitars, a double bass, whale-noise thunk and then slides into a messy waltz. The violin subtly glides around, casting a golden glow through film noir shadows. It’s a tune that delightfully treads a twilight tightrope.

Happy Landings is perfectly ‘Bristol’ simply because it calls to mind a ride in a hot air balloon. The guitars start a tiny, micro-tune allowing it to float through the song.

There’s almost something of the delicate world-building of Three Cane Whale until great washes of sunshine fill every corner. It is light and airy, gently euphoric.

The final tune of the night is Mouse, the title track of the new album (recorded but not released until the new year). It’s a madcap cartoon soundtrack, instruments unceasingly, gleefully chasing each other to a glowing sense of exhaustion. There are, once again European influences that end in a final, celebratory Klezmer-Hey!

Bristol is the perfect place for The Schmoozenbergs; a hint of Sheelanagig energy, a pinch of Three Cane Whale whimsy, the merest touch of Opa Rosa’s breathless fun, stirred together with flawless musicality.

If this evening is anything to go by, the new album should be welcomed into houses everywhere.

Main photo: Gavin McNamara

Read next:

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• Review: The Black Feathers, Downend Folk & Roots – ‘The only intoxicant people need’
• Review: Half Moon Run, SWX – ‘The crowd were transfixed’

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