Peterborough two-piece LeBrock are forces to be reckoned with in the retrowave scene, bringing powerhouse vocals, epic guitar solos and fist-pumping power synths to the 2020s. Performing as a full four-piece with a touring rhythm guitarist and drummer, at first glance you’d be forgiven for thinking they were a metal band. Yet, the slow and thematic opening of ‘Real Thing’ takes us back to late-night drives in the 80s, a time before much of the crowd were born – but we’re sure it probably feels like this song.
The pace picks up with ‘See Me’ from last year’s EP, where vocalist Shaun Phillips dances with the microphone stand in a stance that reflects the powerful, heartfelt vocals layered over bright and upbeat synth melodies.
Early into the set the crowd are a sea of fist-pumps and Shaun comments on the rowdiness for a Wednesday night. The emotionally charged performance can’t help but inject life into the crowd despite it being late on a school night, and at no point are they totally still.
One of the catchier anthems, ‘Please Don’t Cry’, paves the way for guitarist Phil Smith (subbing in for regular member Michael Meadows) to take the centre spotlight, echoing hypnotic hooks throughout the verses and chorus, before erupting into a dreamy solo that would’ve been perfect for Guitar Hero.
Speaking of dreams, the ‘Have you ever had a dream kid’ meme introduces us to ‘Dangerous Dreams’ from their 2016 debut album. Dramatic synth builds to an explosive chorus, the crowd echoing back to an animated Phillips – “Have you ever seen, in your wildest dreams, paradise?” For many folks here, it’s seeing LeBrock in a small neon venue in Manchester.
Phillips is chatty and playful with the crowd, ensuring we’re having just as much fun as he is and encouraging us to “enjoy ourselves while we still can” – inspiring, if not slightly ominous.
Towards the end of the set, the standout song ‘Call Me’ is an emotional ballad reminiscent of the part of the movie where the character feels hopeless and broody. Phillips carries the moment by jumping into the crowd, exclaiming that he’s “bouncing like a young Fred Durst”, and the crowd follows suit – hands up then hands down.
‘Interstellar’ is a perfect end to the set, feeling more like an uplifting end-credit scene where everything worked out okay. “Fists up!” commands Phillips; Fists, rockers, pointers – everything is up for the final chorus: “Oh, can we go the distance?” With a pace like this, LeBrock can certainly go the distance and make significant synth-infused, guitar-powered waves in the genre.
