HONEYBLOOD play an intimate show at The Shacklewell Arms in London.

Scottish rocker-duo Honeyblood is currently touring the UK to promote their upcoming sophomore album, Babes Never Die, and as they take to the stage at The Shacklewell Arms this Tuesday night, it is not without anticipation.

The band opens with the single Ready For The Magic – and we certainly are. It kicks off the gig firmly, yet it is not until new track Love Is A Disaster, after some sound adjusting, that Stina Tweeddale gets to show off her abilities as a guitarist.

Even though Honeyblood certainly have a kick to them, it comes off boring in all the noisiness. Yet sweet vocal harmonies save it from going all over the top, and as Tweeddale takes to the mic, addressing the crowd, you can’t help but being charmed. “Hey London this is a bit of a party! Tonight we are playing our new baby in its entirety” – she announces.

Luckily, they have scattered the set list with some older stuff. It is clearly a crowd winner as they play bittersweet Choker from the band’s self-titled debut, Honeyblood. As the sardonic guitar-work synchs perfectly with Meyers’ drums, all seamed together by Tweeddale’s characteristic moment, you finally get a hint of all that Honeyblood really are, dark and sweet, with a perfect hint of bitterness.

Though the stage is seemingly boiling tonight, Tweeddale stating she regrettably washed her hair, the majority of the crowd is barely lukewarm. This may be due to the slim amount of familiar tunes, Babes Never Dies isn’t released until the 4th of November, yet the long tuning pauses and charmingly awkward attempts at conversation falls just a tad short.

The title track, Babes Never Die, is potentially one of the gig’s absolute best moments musically. This track will boost any crowd, as soon as they know it that is. The drums can be a bit too dominating, drowning out the more delicate details of the music, yet Cat Myers’ drum-work is very impressive and essential in the marvel of sound picture that characterises Honeyblood at their best. And besides, what can you do when you place a drum kit at the front of the stage right?

Honeyblood’s struggle to engage their own crowd can be the backlash of touting a brand new album, so in spite of it all Honeyblood handle it rather graciously. The somewhat distorted sound at times strangles the special feel that makes their music on record.

Honeyblood are at their best when they step it down a notch and let Tweeddale’s vocal shine through, letting some air in to the otherwise so compact sound picture.

“It’s kind of like going on a date with someone but you’ve already seen them naked” – Tweeddale announces, pointing to the fact that, hopefully, everyone has heard the first record by now and are coming back to judge.

Honesty first I guess. They are admittedly “very nervous”, at least that does not show.

We are also introduced to their newest toy / band member, a bass drum machine named Sebastian. It’s a subtle but constant crowd response, and the politeness in the air makes everything feel just a bit too forced. There are too many awkwardly long breaks between songs, and even clumsy cute conversation and crowd flirting cannot quite save it.

When “Ready to jump” results in polite head bobbing, you almost wonder if the crowd really wants to be here. However, All Dragged Up saves the day and you get a glimpse of why Honeyblood actually are a damn good band, at times.

The encore is announced after a rather long discussion about a stuffed panda, and the vocal hooks of Super Rat kick the whole crowd into the first proper sing along of the night. The upbeat and melodic Killer Bangs finishes off what has been a roller coaster of a night.