So Here it is, Merry Isthmus

There’s something admirable about the fact that Panama Kings have released as their debut single, a song encouraging musicians to persevere in the face of hostility; to show heart when the chips are down.

‘Young Blood’, the scruffy anthem in question, is at once a wide-eyed evocation of the joys of being in a band, and also a fraternal arm-around the shoulder for aspiring young pups.
“Courage to try/Courage to fly” it hollers.
And after spending some time with Niall Kennedy and Stuart Bell, it’s clear that they’re primed to lead from the front.
“If there was a list of things of what not to do when you’re writing a song, we’re guilty of all of them,” admits frontman Niall. “But we wouldn’t have it any other way. So many things go on when we’re recording, and we try so many different ideas – there are times when we look at one-another and ask ‘Is that too much?’. But we tend to laugh, go ‘Fuck it’, and then carry on anyway. And I’m glad we’re like that. We’re not one of these bands terrified of doing anything that will scare off a label. We’re braver than that.”
Evidence of this can be found in the four-piece’s refusal to paint themselves into an indie guitar corner. True, what recorded evidence that’s emerged so far, is sketchy (the single, ‘Where’s Your Sense of Urgency?’ from the Oh Yeah compilation, a few fragments loitering on MySpace), but listen carefully and (a Spector-esque intro; a neat, plinky plop electro remix) there are pointers to some encouragingly expansive thinking.
Niall drums with hip-hop outfit Team Fresh and claims his taste in records extends from “dub step to early Cliff Richard”. Stuart, meanwhile, mentions a shared-love of Cut Copy, and ambitious plans to recruit Alex Metric as producer.
“We can genuinely integrate the dance thing,” he says. “We can do the white boy hip-hop thing, can rock out too. It doesn’t look like a conceit with us. So long as you’re genuine in your intentions, I think you can get away with pretty much anything.”
Benefitting from the experience and the contacts book of their co-manager Matthew Priest (who Britpop veterans may remember as the extrovert drummer in Dodgy – “He’s a live wire,” says Niall. “Still wears a Beaney hat.”), Panama Kings have already made sorties to London. And while each visit has seen a steady increase in interest, there seems little prospect of them being seduced by the place’s metropolitan delights.
“We’ve been to parties over there full of trendy blokes dressed very expensively, but still looking like Rab C Nesbitt,” Stuart laughs. “It’s grim. And we can’t get away quickly enough.”
“London’s a bit of a sewer,” adds Niall. “It can be amazing, but it can also be the most dispiriting place you’ve ever been. I don’t see any need for us to be there full-time. It’s an hour away on a plane. And there’s something very special going on in Belfast at the moment and I wouldn’t want to be anywhere else.”
Now normally at this point, caution would not only be advised, it would be insisted on. Over the years we’ve become accustomed to the puffed up (and delusional) braggadocio of local bands talking up a hometown solidarity that, in truth, extended no further than a shared kebab and back-slapping session after a joint headliner at Katy Daly’s. Perhaps, however, we can now start to lighten up. Vigilant readers will be aware that over recent months there has been a distinct shift through the gears around this manor. That games have been lifted. Acts bucked up. So much so that, finally, there appear to be acts emerging who can back up the big talk.
“It’s really happening now,” Stuart insists. “It’s proper. There’s a real substance to it. I can remember what it was like four or five years ago and it’s completely different now. Back then there were plenty of local heroes, but none of them were actually putting out any records. That’s changed. There’s an end product now.”
By the close of business 2008, the four-piece should be able to look back with some satisfaction at their contribution to the cause. Aside from ‘Young Blood’, they already have its follow up (‘Your Children Are Screaming’) recorded and ready to go. Add in the Alex Metric link-up, and a series of high profile gigs (including the Good Vibrations 30th Anniversary Party, and an upcoming slot with The Futureheads at the Lisburn Arts Centre), and you’d forgive them for resting on their laurels.
Not a chance, says Niall.
“We’re driven. Our ambitions have never been based around getting on the cover of Smash Hits, or whatever it is the kids are reading these days, it’s always been about writing great songs, making amazing fucking records. And I can feel them inside me. Loads and loads of them.”
These Kings, it seems, have expansionist plans.