Thieves Of Liberty / A Stunning Debut Of Talent And Expertise

November 15, 2024

Thieves Of Liberty – Shangri La - Talent and prodigious expertise shine through on impeccable debut.

Out Friday is Shangri La, the debut full-length offering from highly promising North East quintet Thieves Of Liberty. Comprising of magnetic vocalist James Boak, the equally captivating twin guitar assault of Kieran Wilson and Liam Lindsley, plus Pete Kinmond and Tom Bushby on bass and drums respectively, the Thieves are already an exciting live act as I testified to here.

Thieves Of Liberty – Shangri La (TMR Rock Records)

Release Date: 15 November 2024

Words: Sophie James

As stated in the above review, Thieves Of Liberty was then in the middle of a creative purple patch, and this is the exquisite result.

Shangri-la itself commences with an inviting riff backed by Tom’s deliciously loose groove that is present throughout. The anthemic chorus refrain of “Show me the way to go home” will no doubt have plastic pint glasses raised aloft as audiences holler along.

The heavily rotated Sick Pup continues that melodious, capacious feel with its intricate riff whilst possessing a touch of the Mason Hills’ Kieran’s solo sparks a key change prior to its gallop towards the thrilling, punctuated climax.

“You’re a batch of honey and you sting like a bee. You’ll see what I mean, confectionately.”

Cherry Queen completes the riffy swagger of the opening triumvirate. If this was a triple salvo live opening, they would already have the audience in the palm of their hands.

Now where have I heard half that riff before? – very cheeky! Casual Tragedy opens with something that is sure to make everyone go “WTF?!” before its second half veers closer to Extreme. This is just one of the many twists and turns on this exquisitely crafted tune whereby Kris Gray’s saxophone plays an intrinsic part.

I don’t know how much of an influence Mr. Big have been on any band member, but this demonstrates those innate ’60s style pop sensibilities, exemplified in no small part by the sublime harmony bridge of “Now that I’m all alone, pick up the phone, don’t make me your tragedy.”

The Allmans meet Lizzy on the solo as the sax plays an underpinning role, and then, together with the reprise of the bridge, it all makes for a flawless coda. My earworm of the album, for sure.

Rabbit Hole returns to a more direct approach with the riffs and licks colouring the vocal. The mid-song breakdown leads into some serious NWOBHM style riffage which will cause some most rapid oscillations of the cranium, while the ascending vocal hook of “C’mon c’mon c’mon” will invite the chants.

Is it me, or can I hear a tip of the hat to Billy G in the solo, too?

Until The End commences acoustically, in ballad style, but soon launches into a riff-fest reminiscent of the first Deffard album. For those moments, the listener may once again be transported to the early ’80s. A glorious musical jamboree elevated by the delightful solo interplay between Liam and Kieran.

“Now I’ve got the time, I’m turning off the news today.”

A sentiment that no doubt many of us share.

From its appealing introductory chords, Sweet As Today returns to the immediacy of that opening trio. If AC/DC wrote a summertime song, it may sound summat like this.

The piano led Luminescent Daydream (excellent title!) is the true big, lighters in the air, power ballad moment. No exaggeration, but this stands shoulder to shoulder with Aerosmith at their ’90s peak. Yes, it is that good!

“Wake up and pour another cup of hate and violence.”

The call and response of closer Caviar & Diamonds is lyrically streetwise and cynical, referencing the increasingly spin manipulated narratives of political messaging and social media.

As has been demonstrative throughout, when they put their heads down and launch into a riffy charge they are at their best. Here, those segments are somewhat reminiscent of Emerald and oh how joyous it is.

For those investing in extended editions of this fine album, three bonus tracks are included.

Firstly, there is the irresistible and fluid, previously released but now re-recorded Ain’t Going Home. If it isn’t already, this should be a setlist essential. Old favourite Calypso plus the zippy Ground Zero complete the additions.

Overall, this is a highly accomplished and encouraging debut that belies the band’s relative lack of experience. Already exhibiting a most advanced aptitude for composing and arranging, these talents will undoubtedly develop yet further as they bloom.

Vocalist James is a most charismatic frontman. His tones just demand your attention throughout, while guitarists Kieran and Liam should take equal credit for the structure, flow and ultimately allure of all their solos and interplay.

One of the consistent stylisations are the breakdowns, which will irresistibly instigate audience participation before the band power through to dashing finishes.

The more I listen to this, the greater its technicolour textures and vivacity seduce me. Balancing classic with contemporary, this is just the kind of album that probably got you into rock in the first place.