Just where in the world have those Goldhawks been?
 
All over the UK as it happens, on a rescheduled mini tour in preparation of their hectic festival season.
 
And to wrap things up before migrating south – well, Ibiza – the Goldhawks touched down in Camden for one more show.
 
The popular Barfly franchise in the heart of London’s indie music scene is the setting for tonight’s performance; with its cosy space and intimate atmosphere providing an apt venue for any young group looking to connect with their audience.
 
But first to the near fulfilment of an oft repeated cliché.
 
Having been delayed by yet another ticket girl who struggles with the complex task of reading a name, I was late for my Funeral Party.
 
This LA five piece have been supporting Goldhawks on their UK travels and appear to deal exclusively in wrapping predictable white boy lyrics around catchy melodies.
 
They’re a vaguely pretentious bunch, with Funeral Party’s frontman affecting something approaching an english drawl whilst singing, as guitarists take turns in use speakers as impromptu pedestals whilst cranking out riffs.
 
Still, these american imports inject enough energy into their live show to prove their name is more than just a play on words.
 
And it’s clear they have a devoted following, as the crowd thins out noticeably once Funeral Party finish their set.
 
Which at least makes it much simpler to get a good view of Goldhawks, as well as a more common phenomenon of the live music world.

The half pint rocker.
 
This lesser spotted rocker finds it easy to go about their day to day lives, slipping under the radar of regular sized rockers relatively unnoticed.

But you can always find a flock of them gathered round the stage front of most every music venue in the world.
 
Like their support act, Goldhawks have settled on a musical make up that is de rigeur for indie bands nowadays; their sound consisting of guitars, drums, keyboards and anthemic lyrics.
 
Their music is reminiscent of modern day Kings Of Leon and there sure are worse bands to sound like.
 
Still, what’s most enjoyable about early Kings’ records is you could hear where they were from – indeed their very heart – in their slightly idiosyncratic music.
 
It was this that set them apart from their peers, and it’s hard to discern exactly what Goldhawks have that will pull off the same trick in an already oversaturated indie rock scene.
 
Perhaps lead singer Bobby Cook, who has more than a hint of bono syndrome about him, will provide this.
 
He seems to possess an over inflated sense of importance in everything he attempts; most gratifyingly when gesturing for the crowd to be quiet for the Goldhawks slow song, Keep The Fire.
 
It takes him another couple of seconds to realise he hasn’t plugged his guitar back in after switching instruments on their previous track.
 
But it would be churlish of me to chide a frontman for his ego; what sort of lead singer worth his salt doesn’t suffer from delusions of grandeur?
 
As for the Goldhawks, while their music didn’t stir anything lasting in me, I wouldn’t be surprised to see them soar.

Jonathan Campbell