Devon Ross live review: The brightest light in the basement
Devon Ross has an inescapable X-factor. Her role at the top of the pile had been suspected for some time as the model and actress began posting clips of her and her father shredding through classics like The Rolling Stones songs or B.B. King riffs. But as she launched herself into the music world earlier this year with her debut EP Oxford Gardens, it was confirmed. Then, in a basement in East London, the energy was palpable.
Everyone in the room that night wanted to be Devon Ross. But first, they wanted to be her support act. As a night curated by Plastic Factory hosts that regularly put on lineups of the worst-kept secrets of the scene and some of the most exciting and interesting acts around, the lineup at the Sebright Arms was a perfect display of Patti Smith-esque artistry with thrilling guitar lines and effortlessly delivered soft punk vocals.
Bande á part were up first, instantly silencing the room and hooking the crowd thanks to their captivating leader, Sabina Hellstom. With hair exactly like the iconic punk poet and melodies that felt like they could have echoed the halls of the Chelsea Hotel for decades now, the group set the tone perfectly for a night of electric grunge-toned punk played out by two women in a strong lineage of legends.
Upstairs, in the gap between the acts, the bar is fizzing. Ross wanders through the crowds, and you can see eyes dart to her. Even Thurston Moore, found lurking at the back, had his eyes fixed on the musician he plucked from the clutches of Hollywood and signed to his label.
As she stepped onto the stage, it was easy to see why. Ross’ coolness feels beside the point the second she picks up her guitar, playing with the perfect and electric mix of skill and pure feel. In conversation with Far Out, she discussed her guitar heroes, picking out the work of Keith Richards and Charlie Christian, amongst others. But as she and her bandmate and partner Marlon Sexton play together, her icons give way to some wilder influences, more akin to Pete Townshend than any straight-laced jazz or pure rock and roll legends. Between the two of them, they create a wall of sound that elevates Ross’ recorded tracks into a high-octane show of grunge greatness.
A high point comes as they turn their attention to a cover of The Beatles’ ‘Tomorrow Never Knows’, reworking it from its psychedelic roots into something more in keeping with Ross’ angsty energy. But when played alongside her own tracks like the cinematic ‘Swim’ or rolling ‘I Don’t Wanna’, it’s exciting to see a new artist so clearly influenced by the long history of musical greats imbuing her own work with major and beloved aspirations as she nods to the titans.
By the time she says a shy thank you and wanders off into the shadow of the green room, Ross’ cool girl status is secured and stronger than ever. It’s a coolness bolstered by clear and electric talent as she emerges as one of the most captivating and interesting guitar players I’ve seen in a long time, somehow playing with so much energy while also looking so effortlessly nonchalant.
It’s the balance that only comes from time and talent, having spent years learning her instrument before finally stepping out of her bedroom and onto the stage, ready to translate all those years as a music fan and student into her role as a music maker to watch.
