This happy hippie styled quartet have been scarey the airs for two solid years. Since the introduction of self-titled introduction in June 2005, they have got been touring and recording endlessly.
Indie in all of its guitar-laden form and Jonny Borell soaked mental attitude have taken over British People music yet again. Newer oversupplies of sets are being tipped as the adjacent great thing. Razorlight, The Enemy, The Twang. Each have their charm. Each have a devoted fan base. But none have got had the end product of the Magic Numbers. The set of sibs have got released two record albums in two years, been on at least 3 major tours, played all the festivals, Glastonbury twice, Travelled Europe, Japan, supported Brain Wilson, played MySpace and AOL Sessions, and appeared on cast tons of shows, radiocommunication Sessions and dad quizzes advertisement awarding shows.
I saw them in November of 2006, and a very passionate crowd sang along with presence adult male Romeo Stodart's dear words and fake American speech pattern with enthusiasm. His voice may sound heavily Beach Boys influenced, as it is, but even though he talks with an English speech pattern the swing of his vocalizing voice doesn't irritate like it makes from Joss Stone. It soothes. The gig in Hammersmith Phoebus was not a disappointment; they did look to play their better most noteworthy songs nearer the start of the set however. Most of the paths from 2nd record album Those The Brokes didn't elicit much joyousness from the audience. Pleasant as these songs may be, Those The Brokes is a much deeper record album but makes have got some filler, they didn't acquire the children and couples up to dance and smack like Love Me Like You and Forever Lost.
And at this old age Glastonbury they played safe again with their hits from the debut. As much as they circuit and advance Those The Brokes, the chart places will go on to let down (their last single hit 36 and got no higher,) the audiences desire to hear their much more than radiocommunication friendly introduction record album tracks. Which is sad, but understandable. As Romeo Stodart acquires deeper with his lyrics, he is jump to lose most of the fans that tagged onto them for their happy chilled windiness of Forever Lost. Ask Keane, Kasabian and Kaiser Chiefs who lost a batch of impulse with more than through and profound offerings. But the difference is the Magic Numbers cognize what delight the crowds, they now what do the festival audiences bounce. Maybe that volition be their Jesus and the adjacent record album may be less rushed and derivative and much more than like the cheerful Ealing children we came to love during 2005.