If you are not yet in correspondence with Letters To Fiesta, it’s probably just a matter of time. Despite being four upstarts with real day-jobs and such, they’ve got two shiny singles and a proper video to show for their efforts, and quite possibly have ambition and a real plan of action.
Be not swayed by the name. If you’ve ever been to a student battle of the bands night, you might assume that a band name that directs anything “To” anyone else tends to be saturated in regretfully-emotional sixth form poetry. Letters To Fiesta, gratefully, are not. Nor is it a reference to the sturdy but uninspiring Ford hatchback, which would make an awful muse.
It’s probably best if you avoid making any deductions at all. One would expect ukuleles at best, melodicas and boy/girl harmonies at worst. But apologies would be in order. They, in fact, sit at the intersection of electro pop and The Hysterical Woman from Victorian literature. Evidence of the latter is probably the work of Anna Lousie Etherington, who can sing like she was jilted at the altar 150-odd years ago.
Less hawkishly judgemental people will have most likely found Letters To Fiesta crop up in their existences through debut single ‘Mesosphere’. A track that – and this is said with all the gravity that the statement deserves – has more than a little Kate Bush running through its veins. It is tragi-pop enthused by the sort of synth delinquency that occasionally breaks into chart semi-stardom.
At the heels of ‘Mesosphere’ is ‘Statuettes’, a more sedate affair that justifies the folk comparisons they seem quite hasty to quash. There’s no shame in folk though, especially when there isn’t a Mumford for miles around and the vocals are as good as they are.
Letter’s To Fiesta will be proving awful, sceptical people like me wrong for Underachievers Please Try Harder @ The Crescent.