Reviewed by Hedd Thomas
“Oh, how very ethnic,” reacted a gentleman when I told him of this concert I'd be attending. If by “ethnic” he was referring to the 14th Century origins of the music and poetry then he was right; if, however, he was expecting something simple in both its music and its following then eyeing the smart suits and ties of the performers even before hearing their enticing sounds would confirm that this is a high art form indeed.
The evening was the result of a partnership between the Pakistan Cultural Society based here in Newcastle and the Asian Music Circuit, London. They aimed to showcase two musical traditions of Azerbaijan. The first was the art of the ashig, literally “falling in love” - bardic musicians who sing everything from epic songs and sagas to serenades and ballads. They accompany themselves on the eight- or ten-stringed plucked saz. The second was the mugham, the indigenous modal classical music of Azerbaijan. Characterised by a large degree of improvisation, mughams feature a singer accompanied by two instrumentalists playing tar (long-necked lute) and kamancha (spike-fiddle). Seven musicians were due to perform, many with international reputations.
There is something very satisfying about watching a performer make seemingly impossible music look easy. The fingers of Azer Maharramov danced from one saz fret to another with ease, showing off his instrument's capabilities while contentedly smiling to himself throughout; Ramin Qarayev's huge melismas flowed out with no trouble at all. The bright, cheerful songs of Qalandar Zeynalov proved why he's one of the most popular ashigs in Azerbaijan; and while Aytekin Akbarova's saz skills weren't quite as equal as her male counterparts her main talent as an author and performer of poems shone, portraying the story with much conviction. Some, like Akbarova, sung outwardly to the audience, about half of which were members of the local Arezi-Turkish-Iranian community, while Zeyalov was singing up close to his saz and others like Maharramov sung with his eyes closed, lost in his own world. If it weren't for the disappointing lay out in the Northern Rock Foundation Hall and the cold lighting this could have been a very intimate first half indeed.
Elshan Mansurov started the second half with a kamancha solo. A recent graduate from one of Azerbaijan's conservatoires, his inexperience showed at times by the look of concentration focused on his fingers. What he lacked in expression, however, was more than made up for in his great tone and phrasing. The following song, translated as “Blonde Bride,” is a favourite amongst Azeris and gave the soloist Gochaq Askarov the perfect opportunity to demonstrates his strong but unforced high-pitched voice with an incredibly melancholic melody. The wailing melismas in the second mugham presented him with equally good chances to prove his skill. It was the very experienced tar player Malik Mansurov, however, that was the highlight of the half. A teacher at Azerbaijan's top conservatoires, he is a virtuoso when it comes to technique, playing with lots of dynamic variation, darting fingers and great attention to detail; he played with such feeling that he succeeded in telling the story more effectively then even the singer himself.
“It's great music and it's really good to hear my mother tongue,” said one Azeri member of the audience who grew up in Iran and now lives in Newcastle, “I only get to hear Azeri these days when I'm on the phone to my mum!” This summed up the evening. It was great music for those familiar with it and fascinating for those less so; and although every performer was a good musician in their own right it was their love for the music and the passion with which they delivered it that made the concert so worthwhile.
4/5
For more information about the Pakistan Cultural Society and to check out their future concerts, go to: www.pakistanculturalsociety.co.uk
For more information about the Asian Music Circuit and to check out their future concerts, go to: www.amc.org.uk
Wednesday, 2 December 2009
Sonic Boom Six (plus support) at O2 Academy
Reviewed by Adam Finch
Sonic Boom 6 arrived on the Manchester ska-punk scene in 2002 with a loud and exhilarating bang! Since then they’ve gone from strength to strength and become one of the de facto ska-punk bands of today. Think of the Madchester explosion in the 80s and remove it slightly to the 00’s and with ska and punk, this band will be missed when they’re gone. Unfortunately for us, the guitarist, Ben, was leaving full-time Boom responsibilities to be with his wife and relax for a while, so already fans are missing one of their beloved band members. This year’s tour they were joined by Random Hand, Difference Machine and The Skints.
Random Hand were the first band we saw, claiming to be doing the show because of a “community service order” – whether they were telling the truth or not, I don’t know but if they crowd weren’t half ready for SB6 after their set then they never would be! The amount of passion and energy put into every song is happy reminder that whether you like the music or not, the energy put into the performance will pull you in and by the end of the set you’ll be gagging for more. The perfect blend of heavy punk and ska, driving drum beats and voluptuous bass lines allow this band to get your feet moving and heart racing, if you ever get a chance to see this band without the community service order, then take up that chance!
The Skints were next up, on SB6’s imprint label, played an amazing cover of “Dawn Penn – You Don’t Love Me” in a very melodic and slow reggae-ska fashion. The band themselves were good, but after seeing Random Hand possibly upstage Boom, The Skints were lackluster except for the guitarist-come-singer who seemed to enjoy himself.
When SB6 finally came on, proceedings finally kicked off properly. With the band spending some of their time getting the crowd ready for what is to come, I don’t think they really expected this. Ben’s last show was a send off and a half, with old songs, new songs, mashed up songs and any other goodbye present possible in the form of music! The members of the other bands came on stage to dance and sing and keep the crowd entertained.
While Layla and Ben Boom were on stage alone together, a slow meaningful song was played and it looked like Ben shed a tear. After a long thank you to the band and fans for making him feel like family. SB6 played 4 encore songs and vacated the stage to a roofless Academy, the atmosphere in there was intense! If I ever got a send off like that from my friends, the main thing I’d take from that, “I was loved.”
Sonic Boom 6 arrived on the Manchester ska-punk scene in 2002 with a loud and exhilarating bang! Since then they’ve gone from strength to strength and become one of the de facto ska-punk bands of today. Think of the Madchester explosion in the 80s and remove it slightly to the 00’s and with ska and punk, this band will be missed when they’re gone. Unfortunately for us, the guitarist, Ben, was leaving full-time Boom responsibilities to be with his wife and relax for a while, so already fans are missing one of their beloved band members. This year’s tour they were joined by Random Hand, Difference Machine and The Skints.
Random Hand were the first band we saw, claiming to be doing the show because of a “community service order” – whether they were telling the truth or not, I don’t know but if they crowd weren’t half ready for SB6 after their set then they never would be! The amount of passion and energy put into every song is happy reminder that whether you like the music or not, the energy put into the performance will pull you in and by the end of the set you’ll be gagging for more. The perfect blend of heavy punk and ska, driving drum beats and voluptuous bass lines allow this band to get your feet moving and heart racing, if you ever get a chance to see this band without the community service order, then take up that chance!
The Skints were next up, on SB6’s imprint label, played an amazing cover of “Dawn Penn – You Don’t Love Me” in a very melodic and slow reggae-ska fashion. The band themselves were good, but after seeing Random Hand possibly upstage Boom, The Skints were lackluster except for the guitarist-come-singer who seemed to enjoy himself.
When SB6 finally came on, proceedings finally kicked off properly. With the band spending some of their time getting the crowd ready for what is to come, I don’t think they really expected this. Ben’s last show was a send off and a half, with old songs, new songs, mashed up songs and any other goodbye present possible in the form of music! The members of the other bands came on stage to dance and sing and keep the crowd entertained.
While Layla and Ben Boom were on stage alone together, a slow meaningful song was played and it looked like Ben shed a tear. After a long thank you to the band and fans for making him feel like family. SB6 played 4 encore songs and vacated the stage to a roofless Academy, the atmosphere in there was intense! If I ever got a send off like that from my friends, the main thing I’d take from that, “I was loved.”
Los Campesinos at Newcastle Student Union
Reviewed by Rob Sellars
There is something about Los Campesions! being in Newcastle that appears to attract trouble. Of the two times that they have played in the Union before, once there was a mass stage invasion, and the other time the band had to stop mid-song after two charming Geordies came to blows in the middle of the audience. Talking to Gareth, lead vocalist of the band, before the gig, reaffirmed the suspicion that just maybe their brand of raw indie-pop and dark edged lyrics took the Newcastle crowd to places they just weren’t used to. Thus the band and fans alike were heading into the gig with a sense of anticipation, a knowledge that something always happens when the ever growing band steps into the student’s domain. While there were no fist fights or unruly crowd activities tonight, the band still delivered as they always do, with a heavyweight package of thundering hooks, passionate vocals and true rock sensibilities.
On record Los Campesinos! are sometimes burdened with the unenviable label of being a little twee, but when it comes to their live performance, they don’t so much banish such thoughts as take their twee-pop image, thrust it through a blender then scream their lyrics back in its face. Despite earlier admitting to suffering from the rigours of a whistle stop tour, Gareth is as always determined to throw himself around every square centimetre of the venue, while flicking between vocals that are one second raucous screams and the next quiet contemplation. He is as always backed ably by a band that seem determined to cover every instrument on the planet, including new member Kim’s skills on the drone box, which for all the world I cannot figure out. Despite losing second singer Alexis to her studies, Kim steps in perfectly to the void and none of the power or charm of their earlier songs is lost, as they thunder through a set that features all their favourites as well as five new songs. One or two of the new songs still sound like they need work, but with the new album, Romance is Boring, not due till next February, this is the perfect testing ground for such experimentation. There are Listed Buildings and The Sea is a Good Place to Think of the Future both promise a lot for the new album and show a new found maturity in both their music and Gareth’s lyrics. From their first two albums, tracks such as We Are Beautiful, We Are Doomed, You! Me! Dancing! and Ways to Make it Through the Wall receive particularly frenzied responses, and closer Sweet Dreams Sweet Cheeks sends everyone out into the night with a heavy sweat on and a smile.
Anyone who headed to the gig expecting a flawless and refined showing and a polished vocal performance may well have been disappointed, but then to ask for such things would be to take away part of the essence of Los Campesinos, the power and passion that puts them head and shoulders above many of their peers and means they are so much more than twee.
There is something about Los Campesions! being in Newcastle that appears to attract trouble. Of the two times that they have played in the Union before, once there was a mass stage invasion, and the other time the band had to stop mid-song after two charming Geordies came to blows in the middle of the audience. Talking to Gareth, lead vocalist of the band, before the gig, reaffirmed the suspicion that just maybe their brand of raw indie-pop and dark edged lyrics took the Newcastle crowd to places they just weren’t used to. Thus the band and fans alike were heading into the gig with a sense of anticipation, a knowledge that something always happens when the ever growing band steps into the student’s domain. While there were no fist fights or unruly crowd activities tonight, the band still delivered as they always do, with a heavyweight package of thundering hooks, passionate vocals and true rock sensibilities.
On record Los Campesinos! are sometimes burdened with the unenviable label of being a little twee, but when it comes to their live performance, they don’t so much banish such thoughts as take their twee-pop image, thrust it through a blender then scream their lyrics back in its face. Despite earlier admitting to suffering from the rigours of a whistle stop tour, Gareth is as always determined to throw himself around every square centimetre of the venue, while flicking between vocals that are one second raucous screams and the next quiet contemplation. He is as always backed ably by a band that seem determined to cover every instrument on the planet, including new member Kim’s skills on the drone box, which for all the world I cannot figure out. Despite losing second singer Alexis to her studies, Kim steps in perfectly to the void and none of the power or charm of their earlier songs is lost, as they thunder through a set that features all their favourites as well as five new songs. One or two of the new songs still sound like they need work, but with the new album, Romance is Boring, not due till next February, this is the perfect testing ground for such experimentation. There are Listed Buildings and The Sea is a Good Place to Think of the Future both promise a lot for the new album and show a new found maturity in both their music and Gareth’s lyrics. From their first two albums, tracks such as We Are Beautiful, We Are Doomed, You! Me! Dancing! and Ways to Make it Through the Wall receive particularly frenzied responses, and closer Sweet Dreams Sweet Cheeks sends everyone out into the night with a heavy sweat on and a smile.
Anyone who headed to the gig expecting a flawless and refined showing and a polished vocal performance may well have been disappointed, but then to ask for such things would be to take away part of the essence of Los Campesinos, the power and passion that puts them head and shoulders above many of their peers and means they are so much more than twee.
Fightstar at Newcastle Student Union
Reviewed by Mike Worthington
There’s something incredibly spirited about the way Fightstar play. Charlie Simpson never falters vocally nor fails to go through one song without furiously flicking his mop of hair around. He is clearly rocking out. The same it cannot be said, for the crowd. Although The Union would have proved a fantastic venue for FIghtstar to exhibit their rock based riffs, the venue was half full at best. No matter how energetic crowd favourites like ‘Mercury Summer’ and ‘Grand Unification Part 1’ were, the bands energy was seemingly lost on the eager faced fans of the front and the more cautious viewers from the back. In fairness to the band, their passion onstage helped compensate for lack of atmosphere but toward the end too many songs sounded the same. And you have to wonder whether Simpson was giving himself a headache with all that thrashing about. It begs the question, would Busted have boasted a bigger turn out? There were certainly enough Busted jokes in between songs - from the crowd only however. Fightstar certainly aim to please their fans, it’s just a shame enough of them weren’t there to return the favour.
There’s something incredibly spirited about the way Fightstar play. Charlie Simpson never falters vocally nor fails to go through one song without furiously flicking his mop of hair around. He is clearly rocking out. The same it cannot be said, for the crowd. Although The Union would have proved a fantastic venue for FIghtstar to exhibit their rock based riffs, the venue was half full at best. No matter how energetic crowd favourites like ‘Mercury Summer’ and ‘Grand Unification Part 1’ were, the bands energy was seemingly lost on the eager faced fans of the front and the more cautious viewers from the back. In fairness to the band, their passion onstage helped compensate for lack of atmosphere but toward the end too many songs sounded the same. And you have to wonder whether Simpson was giving himself a headache with all that thrashing about. It begs the question, would Busted have boasted a bigger turn out? There were certainly enough Busted jokes in between songs - from the crowd only however. Fightstar certainly aim to please their fans, it’s just a shame enough of them weren’t there to return the favour.
Thursday, 26 November 2009
Madeleine Peyroux at The Sage
22.11.09
Reviewed by Louise Morris
There was a sense that we were awaiting a true musical presence and an icon for modern Jazz; comparisons to Billie Holiday have imbued Madeleine Peyroux with reverence and respect, which she managed to maintain and deserve rather than shrinking under such an auspicious reputation. Support was provided by Lesley Roley whose pretty folk songs were given energy with soaring vocals, but Madeleine was eagerly anticipated. She strode on stage with a full backing band, the acoustics were perfect and with every old favourite the audience rippled with appreciative applause. Madeleine’s velvety vocals and distinctive intonation transformed covers of Bob Dylan’s “You’re Gonna To Make Me Lonesome When You Go”, Edith Piaf’s “La Vie en Rose” and Leonard Cohen’s “Dance Me To The End Of Love”. “Between The Bars” was rendered beautifully haunting, and although Madeleine has a stronger voice than Elliott Smith, she managed to recreate and enhance the intense fragility that characterises the song. I have to say I prefer the album version of the track which is pared back and simple; I felt that Peyroux who is usually so intuitive added a few too many vocal embellishments. Still, a wonderful rendition, and her successful performance of a range of covers proves her impeccable taste and talent for making the songs her own. Madeleine Peyroux’s latest album “Bare Bones” is remarkable for being her first with all original songs, a strong decision marking her development as a writer. Peyroux was charmingly understated and gently witty, achieving the perfect balance between songs and chatter, confessing at the start that the first part of the show would be about the “holy trinity: booze, blues and ballads”. She was clearly very conscious not to depress her audience with too many sad songs, constantly commenting that wanted to “cheer us up” as she interspersed the set with more upbeat tracks.
Madeleine’s amazing backing band accentuated the whole performance with their talent for improvisation and excellent musicianship, swapping between instruments. The most astounding improvisation was definitely the skilled drummer, who maintained such control and used the brush sticks innovatively, gradually crescendoing to a roll where he even used his foot and elbow to vary the pitch of the drum!
Madeleine was gracious, explaining certain songs and displaying a commanding presence which belies her general withdrawal from public attention, for about seven years she eschewed fame, returning to her roots busking in Paris. The encore comprised of one sole but perfectly chosen cover of “I’ll Be Seeing You” and the band exited after a formal, theatrical stage bow. Peyroux’s endearing personage and captivating voice promises to enchant future fans and provide ample success in her emergence as a skilled songwriter as well as the talented performer she has already proved herself to be.
4/5
Reviewed by Louise Morris
There was a sense that we were awaiting a true musical presence and an icon for modern Jazz; comparisons to Billie Holiday have imbued Madeleine Peyroux with reverence and respect, which she managed to maintain and deserve rather than shrinking under such an auspicious reputation. Support was provided by Lesley Roley whose pretty folk songs were given energy with soaring vocals, but Madeleine was eagerly anticipated. She strode on stage with a full backing band, the acoustics were perfect and with every old favourite the audience rippled with appreciative applause. Madeleine’s velvety vocals and distinctive intonation transformed covers of Bob Dylan’s “You’re Gonna To Make Me Lonesome When You Go”, Edith Piaf’s “La Vie en Rose” and Leonard Cohen’s “Dance Me To The End Of Love”. “Between The Bars” was rendered beautifully haunting, and although Madeleine has a stronger voice than Elliott Smith, she managed to recreate and enhance the intense fragility that characterises the song. I have to say I prefer the album version of the track which is pared back and simple; I felt that Peyroux who is usually so intuitive added a few too many vocal embellishments. Still, a wonderful rendition, and her successful performance of a range of covers proves her impeccable taste and talent for making the songs her own. Madeleine Peyroux’s latest album “Bare Bones” is remarkable for being her first with all original songs, a strong decision marking her development as a writer. Peyroux was charmingly understated and gently witty, achieving the perfect balance between songs and chatter, confessing at the start that the first part of the show would be about the “holy trinity: booze, blues and ballads”. She was clearly very conscious not to depress her audience with too many sad songs, constantly commenting that wanted to “cheer us up” as she interspersed the set with more upbeat tracks.
Madeleine’s amazing backing band accentuated the whole performance with their talent for improvisation and excellent musicianship, swapping between instruments. The most astounding improvisation was definitely the skilled drummer, who maintained such control and used the brush sticks innovatively, gradually crescendoing to a roll where he even used his foot and elbow to vary the pitch of the drum!
Madeleine was gracious, explaining certain songs and displaying a commanding presence which belies her general withdrawal from public attention, for about seven years she eschewed fame, returning to her roots busking in Paris. The encore comprised of one sole but perfectly chosen cover of “I’ll Be Seeing You” and the band exited after a formal, theatrical stage bow. Peyroux’s endearing personage and captivating voice promises to enchant future fans and provide ample success in her emergence as a skilled songwriter as well as the talented performer she has already proved herself to be.
4/5
Saturday, 21 November 2009
La Roux at Newcastle Student Union
Reviewed by Mike Worthington
Admist a flurry of excited cheer and awe, a confident La Roux, brimming with swagger, strides onto the stage. A radiation of quiet confidence and straightfoward concentration seems to echo about her stage presence. She seems perfectly aware she’s not just like any other artist around at the moment. Tonight, she’s going for gold, or rather more adptly, going for the kill. It’s easy to see from the night’s opening song, ‘Tigerlily’, La Roux leaves other acts dead in the water. There’s an edge of brilliance, a subtle undercurrent of class that characterises tonight’s performance. La Roux reels the audience in, using a salvo of powerful, driven vocals accompanied by meaningful delivery, perhaps best demonstrated in ‘I’m Not Your Toy’. La Roux’s bold, striking hair in itself seems to scream “i’m not just like any other artist.” La Roux’s principle success has been affronted to ‘In For The Kill’ and ‘Bulletproof’, the latter being left till the very end of tonights set – and with incredible effect. The response from the crowd was raptoruous, mesmerising, and above all, satisfied. The limiting factor about La Roux is the fact she only has one album to her name, albeit a very successful one. Various interviews has confirmed that La Roux is in no hurry to write a new one, and it’s easy to see how this “i’ll do it my way” attitude is exuberated on stage. La Roux really stands out from the crowd, and not just because of her hair. La Roux takes the crowd wherever she wants, conveying the mood with her electro-pop magic. With a performance like tonight’s, few would deny La Roux is more than ‘Bulletproof’ on stage. She’s invincible.
Admist a flurry of excited cheer and awe, a confident La Roux, brimming with swagger, strides onto the stage. A radiation of quiet confidence and straightfoward concentration seems to echo about her stage presence. She seems perfectly aware she’s not just like any other artist around at the moment. Tonight, she’s going for gold, or rather more adptly, going for the kill. It’s easy to see from the night’s opening song, ‘Tigerlily’, La Roux leaves other acts dead in the water. There’s an edge of brilliance, a subtle undercurrent of class that characterises tonight’s performance. La Roux reels the audience in, using a salvo of powerful, driven vocals accompanied by meaningful delivery, perhaps best demonstrated in ‘I’m Not Your Toy’. La Roux’s bold, striking hair in itself seems to scream “i’m not just like any other artist.” La Roux’s principle success has been affronted to ‘In For The Kill’ and ‘Bulletproof’, the latter being left till the very end of tonights set – and with incredible effect. The response from the crowd was raptoruous, mesmerising, and above all, satisfied. The limiting factor about La Roux is the fact she only has one album to her name, albeit a very successful one. Various interviews has confirmed that La Roux is in no hurry to write a new one, and it’s easy to see how this “i’ll do it my way” attitude is exuberated on stage. La Roux really stands out from the crowd, and not just because of her hair. La Roux takes the crowd wherever she wants, conveying the mood with her electro-pop magic. With a performance like tonight’s, few would deny La Roux is more than ‘Bulletproof’ on stage. She’s invincible.
Tuesday, 10 November 2009
Passion Pit with Max Tundra / The Joy Formidable at Northumbria University
Reviewed by Scott McLoughlin
I could talk about Passion Pit for hours. Oh wait, no I can’t; that was definitely a lie. Musically Passion Pit were impeccable, bar the technical failure resulting in no music for 20 minutes mid set. Oh, and the fact they were dependent on a backing track on a laptop. Oh yeah! I nearly forgot how intensely boring they were on stage. That aside they were very very good. It might appear a contradiction, but I would definitely watch them again, given the opportunity. The singer, what’s his face? I can’t say his name let alone spell it. Anyway, he was very good also, in a high pitched sort of way. In fact they were so good it was like watching a rehearsal; one in which the crowd was still a hypothetical situation yet to be encountered. In the mean time, the crowd still being a fiction, the Passion Pit boys concentrated on getting the music as close to a complete note perfect recital of their album as possible. It is fair to say they lacked stage presence and a quality that would let me believe their performance was all live and happening, and that I was one of the lucky few in Northumbria getting to witness it all! Like poetry read in a monotone voice, passion pit came, played, and left with no personal investment beyond that put into writing the music in the first place. A direct contradiction to ‘the Joy Formidable’: who delivered yet another powerful performance. They also further reaffirmed their position as a live act to be watched out for; hopefully they will figure out how to capture their live quality on record. I know! Let us as a society with a vested interest in getting the most out of bands (and pushing the boundaries of new music), lock Passion Pit and the Joy Formidable in the same room until they take for themselves respectively the best traits of the other i.e. the ability to record and perform! Hmmm…
Now! MAX TUNDRA! I could literally try and describe him forever. The coolest performer I’ve seen in yonks. He may in fact be the least cool person in the world, but the fact he doesn’t care and does his own thing makes him pretty darn cool in my humble opinion. He’s like your Dad dancing to happy hardcore whilst absolutely off his face on acid (or something equally hallucinogenic) but on a stage! In front of all your friends, and he’s embarrassing you, but somehow you conclude you still love him, and then you realise that everybody else in the crowd thinks that watching the mad man dance it is nothing short of the best thing ever! Finally, you realise he’s actually quite good at playing music, all be it weird, and not linear or simple music. His songs are predominantly electro and synth based. He sort of sounds like a bad scat singer’s impression of music, but twisted so you’d expect to hear at cabaret night on a cruise linear; but played on a synthesiser, to dance beats. That is actually as close as I can get to describing him without sounding like a nut job. He simply is crazy, hard to listen to, but somehow brilliant. You know you are in for a good show if one man is playing dance remixes of the sound of music with a variety of crazy instruments that look like they’ve come from a 1960’s toyshop. Youtube this guy’s live performances, for laughs if you want, but you might like myself discover something you like.
3.5 / 5
I could talk about Passion Pit for hours. Oh wait, no I can’t; that was definitely a lie. Musically Passion Pit were impeccable, bar the technical failure resulting in no music for 20 minutes mid set. Oh, and the fact they were dependent on a backing track on a laptop. Oh yeah! I nearly forgot how intensely boring they were on stage. That aside they were very very good. It might appear a contradiction, but I would definitely watch them again, given the opportunity. The singer, what’s his face? I can’t say his name let alone spell it. Anyway, he was very good also, in a high pitched sort of way. In fact they were so good it was like watching a rehearsal; one in which the crowd was still a hypothetical situation yet to be encountered. In the mean time, the crowd still being a fiction, the Passion Pit boys concentrated on getting the music as close to a complete note perfect recital of their album as possible. It is fair to say they lacked stage presence and a quality that would let me believe their performance was all live and happening, and that I was one of the lucky few in Northumbria getting to witness it all! Like poetry read in a monotone voice, passion pit came, played, and left with no personal investment beyond that put into writing the music in the first place. A direct contradiction to ‘the Joy Formidable’: who delivered yet another powerful performance. They also further reaffirmed their position as a live act to be watched out for; hopefully they will figure out how to capture their live quality on record. I know! Let us as a society with a vested interest in getting the most out of bands (and pushing the boundaries of new music), lock Passion Pit and the Joy Formidable in the same room until they take for themselves respectively the best traits of the other i.e. the ability to record and perform! Hmmm…
Now! MAX TUNDRA! I could literally try and describe him forever. The coolest performer I’ve seen in yonks. He may in fact be the least cool person in the world, but the fact he doesn’t care and does his own thing makes him pretty darn cool in my humble opinion. He’s like your Dad dancing to happy hardcore whilst absolutely off his face on acid (or something equally hallucinogenic) but on a stage! In front of all your friends, and he’s embarrassing you, but somehow you conclude you still love him, and then you realise that everybody else in the crowd thinks that watching the mad man dance it is nothing short of the best thing ever! Finally, you realise he’s actually quite good at playing music, all be it weird, and not linear or simple music. His songs are predominantly electro and synth based. He sort of sounds like a bad scat singer’s impression of music, but twisted so you’d expect to hear at cabaret night on a cruise linear; but played on a synthesiser, to dance beats. That is actually as close as I can get to describing him without sounding like a nut job. He simply is crazy, hard to listen to, but somehow brilliant. You know you are in for a good show if one man is playing dance remixes of the sound of music with a variety of crazy instruments that look like they’ve come from a 1960’s toyshop. Youtube this guy’s live performances, for laughs if you want, but you might like myself discover something you like.
3.5 / 5
Absent Elk (w/ Hold Fire) at the 02 Academy 2
5.11.09
Reviewed by Scott McLoughlin
I’d like to start with a small disclaimer. I’m not sure my review of this gig is from a representative opinion. I’m a 20 year old bloke. Now imagine the scene. I get to 02 Academy, and enter it to find a crowd which I then assess: the crowd has an average age of 14, and I can see three men. I say men, I mean prepubescent teenagers. As any 20 year old student would I begin to feel a little odd that I’m amongst the oldest in the room, thankfully I had a friend with me, and there were a few older people scattered amongst the disappointing turnout of 40. It was Bonfire night, but even so, I couldn’t help feeling sorry for the bands. Throughout the night they would prove themselves to be much better than the disappointments Newcastle extended unto them. Hold Fire (no ‘the’) took to the stage. They are a Pop Rock band, full of hooks, melodies, and at some points four-part harmonies. All this is mixed with good lyrics, some of which aren’t words. Their tracks are easy on the ear but with musical integrity often missing in pop; I’d place them somewhere between Bob Dylan and nursery rhymes. In short, if you like songs you’ll like these guys. They also performed ‘Call the Shots’ originally by Girls Aloud amongst their own material. Furthermore they made ‘Call the shots’ a better song, giving it a rockier vibe. They have a debut album (Keys to the City) out now for digital download, and a free track on their MySpace page.
Finally the time came for Absent Elk to perform. And Perform they did! However, if they hadn’t performed as energetically and compellingly as they did to the 40 attendants they would have been excused. It was as intimate and personal a gig as you could hope for. Nevertheless, they truly looked to be giving it their all. So much so the dance floor still bounced! I went to the gig expecting a Pop band. Elk however are so much more. Their album is full of variety and their live performances even more so. The lucky 40 of Newcastle were treated to one of the first acoustic performances of Elk’s interpretation of Lady Gaga’s Pokerface. A version that has become an internet hit and a version I personally much prefer to the original. Their stage craft was first rate; their interaction with the crowd too should be commended. Personally their incredibly catchy song’s ‘Cannibals’ and ‘First Guitar’ stood out, as well as their next single ‘Change My World’ which offered contrasted to the largely up tempo set. Needless to explain their first single ‘Sun and Water’ also went down well due to crowd familiarity. The band’s musicianship could be over looked, though it definitely should not, every member can really play. They create a pop sound, somewhere between indie-rock and Norwegian Folk music. The element of their performance that really surprised me was the drumming. It was interesting, varied, and impassioned. The beats where complemented by acoustic guitar, occasionally synth, thumping bass and most distinguishably an indie toned screaming guitar. This screaming droning dynamic guitar tone, though difficult to describe, but somewhat characteristic of this band; gentle yet piercing.
All these layers of enjoyable noise and I have neglected to mention the lead vocals of Kjetil Morland. Unique, perhaps because of the Anglo-Norwegian accent he sings in. He doesn’t have a powerful voice, the kind x-factor makes you believe everyone should have. It’s delicate, agreeable, and refreshing; sort of like jumping into a fiord in winter. Throughout their set it felt like the audience performer distinction blurred, and you realised they were just thoroughly nice people you wanted to go have a chat with. The best bit was if you felt so inclined you could. They were very friendly and amicable people with loads of time for their fans. Download their next single Change my World from November 30th or alternately buy or download their album ‘caught in the headlights’ now. I doubt you’ll be disappointed.
3.5/5
www.absentelk.com
www.myspace.com/absentelk
Reviewed by Scott McLoughlin
I’d like to start with a small disclaimer. I’m not sure my review of this gig is from a representative opinion. I’m a 20 year old bloke. Now imagine the scene. I get to 02 Academy, and enter it to find a crowd which I then assess: the crowd has an average age of 14, and I can see three men. I say men, I mean prepubescent teenagers. As any 20 year old student would I begin to feel a little odd that I’m amongst the oldest in the room, thankfully I had a friend with me, and there were a few older people scattered amongst the disappointing turnout of 40. It was Bonfire night, but even so, I couldn’t help feeling sorry for the bands. Throughout the night they would prove themselves to be much better than the disappointments Newcastle extended unto them. Hold Fire (no ‘the’) took to the stage. They are a Pop Rock band, full of hooks, melodies, and at some points four-part harmonies. All this is mixed with good lyrics, some of which aren’t words. Their tracks are easy on the ear but with musical integrity often missing in pop; I’d place them somewhere between Bob Dylan and nursery rhymes. In short, if you like songs you’ll like these guys. They also performed ‘Call the Shots’ originally by Girls Aloud amongst their own material. Furthermore they made ‘Call the shots’ a better song, giving it a rockier vibe. They have a debut album (Keys to the City) out now for digital download, and a free track on their MySpace page.
Finally the time came for Absent Elk to perform. And Perform they did! However, if they hadn’t performed as energetically and compellingly as they did to the 40 attendants they would have been excused. It was as intimate and personal a gig as you could hope for. Nevertheless, they truly looked to be giving it their all. So much so the dance floor still bounced! I went to the gig expecting a Pop band. Elk however are so much more. Their album is full of variety and their live performances even more so. The lucky 40 of Newcastle were treated to one of the first acoustic performances of Elk’s interpretation of Lady Gaga’s Pokerface. A version that has become an internet hit and a version I personally much prefer to the original. Their stage craft was first rate; their interaction with the crowd too should be commended. Personally their incredibly catchy song’s ‘Cannibals’ and ‘First Guitar’ stood out, as well as their next single ‘Change My World’ which offered contrasted to the largely up tempo set. Needless to explain their first single ‘Sun and Water’ also went down well due to crowd familiarity. The band’s musicianship could be over looked, though it definitely should not, every member can really play. They create a pop sound, somewhere between indie-rock and Norwegian Folk music. The element of their performance that really surprised me was the drumming. It was interesting, varied, and impassioned. The beats where complemented by acoustic guitar, occasionally synth, thumping bass and most distinguishably an indie toned screaming guitar. This screaming droning dynamic guitar tone, though difficult to describe, but somewhat characteristic of this band; gentle yet piercing.
All these layers of enjoyable noise and I have neglected to mention the lead vocals of Kjetil Morland. Unique, perhaps because of the Anglo-Norwegian accent he sings in. He doesn’t have a powerful voice, the kind x-factor makes you believe everyone should have. It’s delicate, agreeable, and refreshing; sort of like jumping into a fiord in winter. Throughout their set it felt like the audience performer distinction blurred, and you realised they were just thoroughly nice people you wanted to go have a chat with. The best bit was if you felt so inclined you could. They were very friendly and amicable people with loads of time for their fans. Download their next single Change my World from November 30th or alternately buy or download their album ‘caught in the headlights’ now. I doubt you’ll be disappointed.
3.5/5
www.absentelk.com
www.myspace.com/absentelk
Simon Thacker and the Nava Rasa Ensemble – Inner Octaves @ Hall Two, The Sage Gateshead
Indian-Western Classical Fusion
3.11.09
Reviewed by Hedd Thomas
As a showcase of how Indian and Western music can influence each other, this night was a resounding success. It also, however, showed that when musicians from different backgrounds and disciplines come together their respective styles of performing can be somewhat conflicting.
Led by the acclaimed Scottish guitarist Simon Thacker, the Nava Rasa Ensemble is an exciting new international group consisting of Carnatic violinist Jyotsna Srikanth, tabla master Sarvar Sabri, Brazilian bassist Mario Caribé, multi-percussionist Iain Sandilands and The Edinburgh Quartet. The concert would be a test of the musicians' ability to sound and look good whilst 'fusing' their approaches as the genre demands.
They succeeded in the first part of the challenge: the sound they created was very good. There was a beautiful tone coming from The Edinburgh Quartet's principal violinist, Tristan Gurney, in the first piece of the concert, a duet for violin and guitar by the farther of minimalism Terry Riley. The quality of Srikanth's and Sabri's playing in their following raga was “captivating and virtuosic,” as one member of the audience put it. When playing together they managed to create an array of moods to suit the music, from dark and eerie drones to bright and playful melodies, sounding, for the most part, as one unit. The Edinburgh Quartet managed the complicated rhythms well, ones which would be alien to their usual classical repertoire.
With regards to looking good, however, the Nava Rasa leave much to be desired. With most buried in their copies there seemed to be little interaction between any of the performers. Even when there was comic play in the music there was little of it on stage. Srikanth's encouraging smile implied she was the only musician enjoying herself. This was sadly reflected in the audience whose responses were apprehensive: there were no wild claps after virtuosic solo sections, there was no call for an encore.
But Inner Octaves is about how composers, rather than performers, approach their own music. Two brand new commissions were performed, the first by the British composer Nigel Osborne titled The Birth of Nacitekas for guitar concertante. Based on an ancient Indian myth that demonstrates the 10 basic skills for life, it is an impressive display of instrumentation and phrasing. With harmonics on cello and Tirlok Gurtu-esque percussion, the gradual build from a haunting, dormant rest to a lively awakening made the first half of this concerto a definite highlight of the night. The other highlight was the second movement of Shirish Korde's NADA-ANANDA (the joy of sound), which brought the ensemble together in an upbeat mood but which allowed space for the qualities of the different musicians to shine through.
Inner Octave's aim was to explore the confluences between Indian and Western music. This they did well while also inadvertently exposing the areas where they do not meet, which left the listener with the lasting impression that a studio recording would have been more rewarding than a concert. Yet the young Nava Rasa Ensemble have made their own unique sound and with experience on the world music circuit they will surely become an established crowd-pleaser.
Rating: 3/5
Simon Thacker and the Nava Rasa Ensemble will be concluding their tour this week with appearances in Aberdeen, Edinburgh and London. For tour details, see http://www.simonthacker.com/navarasa7.htm
3.11.09
Reviewed by Hedd Thomas
As a showcase of how Indian and Western music can influence each other, this night was a resounding success. It also, however, showed that when musicians from different backgrounds and disciplines come together their respective styles of performing can be somewhat conflicting.
Led by the acclaimed Scottish guitarist Simon Thacker, the Nava Rasa Ensemble is an exciting new international group consisting of Carnatic violinist Jyotsna Srikanth, tabla master Sarvar Sabri, Brazilian bassist Mario Caribé, multi-percussionist Iain Sandilands and The Edinburgh Quartet. The concert would be a test of the musicians' ability to sound and look good whilst 'fusing' their approaches as the genre demands.
They succeeded in the first part of the challenge: the sound they created was very good. There was a beautiful tone coming from The Edinburgh Quartet's principal violinist, Tristan Gurney, in the first piece of the concert, a duet for violin and guitar by the farther of minimalism Terry Riley. The quality of Srikanth's and Sabri's playing in their following raga was “captivating and virtuosic,” as one member of the audience put it. When playing together they managed to create an array of moods to suit the music, from dark and eerie drones to bright and playful melodies, sounding, for the most part, as one unit. The Edinburgh Quartet managed the complicated rhythms well, ones which would be alien to their usual classical repertoire.
With regards to looking good, however, the Nava Rasa leave much to be desired. With most buried in their copies there seemed to be little interaction between any of the performers. Even when there was comic play in the music there was little of it on stage. Srikanth's encouraging smile implied she was the only musician enjoying herself. This was sadly reflected in the audience whose responses were apprehensive: there were no wild claps after virtuosic solo sections, there was no call for an encore.
But Inner Octaves is about how composers, rather than performers, approach their own music. Two brand new commissions were performed, the first by the British composer Nigel Osborne titled The Birth of Nacitekas for guitar concertante. Based on an ancient Indian myth that demonstrates the 10 basic skills for life, it is an impressive display of instrumentation and phrasing. With harmonics on cello and Tirlok Gurtu-esque percussion, the gradual build from a haunting, dormant rest to a lively awakening made the first half of this concerto a definite highlight of the night. The other highlight was the second movement of Shirish Korde's NADA-ANANDA (the joy of sound), which brought the ensemble together in an upbeat mood but which allowed space for the qualities of the different musicians to shine through.
Inner Octave's aim was to explore the confluences between Indian and Western music. This they did well while also inadvertently exposing the areas where they do not meet, which left the listener with the lasting impression that a studio recording would have been more rewarding than a concert. Yet the young Nava Rasa Ensemble have made their own unique sound and with experience on the world music circuit they will surely become an established crowd-pleaser.
Rating: 3/5
Simon Thacker and the Nava Rasa Ensemble will be concluding their tour this week with appearances in Aberdeen, Edinburgh and London. For tour details, see http://www.simonthacker.com/navarasa7.htm
ZZ Top and Steel Panther @ Wolverhampton Civic Hall
Reviewed by DJ Ash
That little old band from Texas proved on Tuesday night that they ain’t too old to put on a kick ass rock show! Yes America’s very own ZZ Top provided a top night of blues at the Wolverhampton Civic Hall with support from L.A rock band Steel Panther. NSR’s very own rock show “SMASH IT UP!” was luck enough to be invited along to the show. Steel Panther who recently featured on NSR said how thrilled they were to be supporting a band they grew up listening too and hold great respect for. They also said we should all show respect for the amount of chicks ZZ Top have had, that deserves recognition as much as the music! If you’re unfamiliar with Steel Panther their debut album Feel the Steel came out in June and is a combination of bands like Van Halen and Motley Crue with elements of The Darkness and Tenacious D mixed in. Their live shows are filled with hilarious banter and outrageous lyrics. If you’re easily offended then we recommend you stay away. Steel Panther make no excuses about their image and why they want to be in a rock band. They don’t seem to take themselves too seriously; they love what they do and are thrilled that so many people are picking up on the band and this style of music.
Hitting the stage at 8pm Steel Panther open with “Turn out the Lights” before jumping into songs like “Hells on Fire”, “Fat Girl” and their recent single “Community Property”. With the majority of the audience tonight being over 40 and many not having heard of Steel Panther it takes a little while for the crowd to loosen up. However they soon come around especially the ladies. Dressed in their signature spandex and cowboy boots the band provides a great opening to the show. Running around the stage their stage presence can be felt even right at the back of the hall. It’s not long since Steel Panther came off their first sold out headlining UK tour and playing in front of a ZZ Top crowd allows them to connect with some of the older rock fans.
ZZ Top take to the stage just after 9 appearing from the shadows they burst into “Got Me Under Pressure” from the classic “Eliminator” album. Complete with their signature hats, cheap sunglasses and beards intact, the band look and sound on top form! The great thing about having such long beards is that they don’t even look as if they’ve aged. The band are blown up on stage through three huge drop down video screens projecting each band member on each screen. The screen’s also feature shots of the band in the early days as well as silhouettes of dancing girls, cars and the bands logo.
The band take us on a trip threw some of their old classics from as early as the “Tres Hombres” album whilst fitting in songs like “Cheap Sunglasses” , “My Head’s In Mississippi” and “La Grange”. Musically the bands sound awesome proving that it really is amazing what you can do with two guitars and a drummer. Billy Gibbons shows his guitar playing is still on top form as is his singing. Dusty Hill still also proves he still has what it takes as he lends his hand to lead vocals throughout the night as well as providing some great backing vocals. The band gets a huge cheer from the crowd when they ask for some technicians to bring out Billy’s blues hat. These turn out to be two hot girls waiting in the wings who present him with his hat wearing bunny rabbit ears and hot pants. Even after nearly 40 years together the band haven’t lost their charm with the ladies.
The closing part of the show is what really gets the crowd excited. The band plays classics from Afterburner and Eliminator before finishing up with their old classic “Tush”. “Gimme All Your Lovin” and “Sharp Dressed Man” the two biggest hits feature clips on the big screen from the videos and vintage photos of the band in their early days. For “Legs” the band brings out their signature furry guitars whilst projecting women on the screens behind them. A great way to end the show and great to see a band like ZZ Top can still put on a great show. They may not have any fancy edges but what makes ZZ Top so appealing is that they stick to their guns, do what they do best and are real honest about it. They truly are that little old band from Texas, the one and only ZZ Top!
For more information on ZZ Top visit the bands official site at www.zztop.com
ZZ Top live from Texas is out now on Blu Ray and DVD from HMV, Amazon.co.uk and Play.com
Steel Panther Feel the Steel is out now from ITunes, HMV, Amazon.co.uk and Play.com
www.smashitupshow.co.uk
That little old band from Texas proved on Tuesday night that they ain’t too old to put on a kick ass rock show! Yes America’s very own ZZ Top provided a top night of blues at the Wolverhampton Civic Hall with support from L.A rock band Steel Panther. NSR’s very own rock show “SMASH IT UP!” was luck enough to be invited along to the show. Steel Panther who recently featured on NSR said how thrilled they were to be supporting a band they grew up listening too and hold great respect for. They also said we should all show respect for the amount of chicks ZZ Top have had, that deserves recognition as much as the music! If you’re unfamiliar with Steel Panther their debut album Feel the Steel came out in June and is a combination of bands like Van Halen and Motley Crue with elements of The Darkness and Tenacious D mixed in. Their live shows are filled with hilarious banter and outrageous lyrics. If you’re easily offended then we recommend you stay away. Steel Panther make no excuses about their image and why they want to be in a rock band. They don’t seem to take themselves too seriously; they love what they do and are thrilled that so many people are picking up on the band and this style of music.
Hitting the stage at 8pm Steel Panther open with “Turn out the Lights” before jumping into songs like “Hells on Fire”, “Fat Girl” and their recent single “Community Property”. With the majority of the audience tonight being over 40 and many not having heard of Steel Panther it takes a little while for the crowd to loosen up. However they soon come around especially the ladies. Dressed in their signature spandex and cowboy boots the band provides a great opening to the show. Running around the stage their stage presence can be felt even right at the back of the hall. It’s not long since Steel Panther came off their first sold out headlining UK tour and playing in front of a ZZ Top crowd allows them to connect with some of the older rock fans.
ZZ Top take to the stage just after 9 appearing from the shadows they burst into “Got Me Under Pressure” from the classic “Eliminator” album. Complete with their signature hats, cheap sunglasses and beards intact, the band look and sound on top form! The great thing about having such long beards is that they don’t even look as if they’ve aged. The band are blown up on stage through three huge drop down video screens projecting each band member on each screen. The screen’s also feature shots of the band in the early days as well as silhouettes of dancing girls, cars and the bands logo.
The band take us on a trip threw some of their old classics from as early as the “Tres Hombres” album whilst fitting in songs like “Cheap Sunglasses” , “My Head’s In Mississippi” and “La Grange”. Musically the bands sound awesome proving that it really is amazing what you can do with two guitars and a drummer. Billy Gibbons shows his guitar playing is still on top form as is his singing. Dusty Hill still also proves he still has what it takes as he lends his hand to lead vocals throughout the night as well as providing some great backing vocals. The band gets a huge cheer from the crowd when they ask for some technicians to bring out Billy’s blues hat. These turn out to be two hot girls waiting in the wings who present him with his hat wearing bunny rabbit ears and hot pants. Even after nearly 40 years together the band haven’t lost their charm with the ladies.
The closing part of the show is what really gets the crowd excited. The band plays classics from Afterburner and Eliminator before finishing up with their old classic “Tush”. “Gimme All Your Lovin” and “Sharp Dressed Man” the two biggest hits feature clips on the big screen from the videos and vintage photos of the band in their early days. For “Legs” the band brings out their signature furry guitars whilst projecting women on the screens behind them. A great way to end the show and great to see a band like ZZ Top can still put on a great show. They may not have any fancy edges but what makes ZZ Top so appealing is that they stick to their guns, do what they do best and are real honest about it. They truly are that little old band from Texas, the one and only ZZ Top!
For more information on ZZ Top visit the bands official site at www.zztop.com
ZZ Top live from Texas is out now on Blu Ray and DVD from HMV, Amazon.co.uk and Play.com
Steel Panther Feel the Steel is out now from ITunes, HMV, Amazon.co.uk and Play.com
www.smashitupshow.co.uk
Monday, 2 November 2009
The Chapman Family @ The Cluny 15/10/09
The Chapman Family
The Cluny 15/10/09
There is always a certain charm to seeing a local band coming good inside the hallowed walls of The Cluny. To see them stepping up from the conveyor belt of standard Northern lad-rock and hopeless bohemian types to take the first rung on the ladder to national recognition, and an assault against the standard Manchester-London axis that dominates the British musical landscape. The Chapman Family hail from Stockton on Tees (nearer Middlesbrough than Newcastle I’ll admit but the North East it remains…) and tonight they did indeed come good. Meeting the boys before hand and ending up embroiled in a discussion about which member of Take That has the most edge about him and the best period of Bowie’s career, reassured me about their musical ethics, with Kingsley, vocalist of the band, claiming that they started a band due to boredom and frustration with everything else they were hearing. Thus they had erected a significant platform from which they would have to prove that they were indeed something different, something aside from the generic that sparked them into life. And that they were, playing an hour long set that bristled with raw and energetic passion, often bordering on all out fury, but always reigning it in before their musical intent was compromised. Kingsley’s vocals switched in an ear-shattering second from quiet contemplation to raging outbursts, highlighted in their best known single ‘Kids’, which was received well by a decent sized crowd, considering that they are still unsigned and with only two major release singles. New single ‘Virgins’, which the tour is promoting, sounded like a pissed of Futureheads or Glasvegas if they stopped moping and just let it all out, and highlighted a further potential which bodes well for The Chapman Family to step up and take this country by storm.
The Cluny 15/10/09
There is always a certain charm to seeing a local band coming good inside the hallowed walls of The Cluny. To see them stepping up from the conveyor belt of standard Northern lad-rock and hopeless bohemian types to take the first rung on the ladder to national recognition, and an assault against the standard Manchester-London axis that dominates the British musical landscape. The Chapman Family hail from Stockton on Tees (nearer Middlesbrough than Newcastle I’ll admit but the North East it remains…) and tonight they did indeed come good. Meeting the boys before hand and ending up embroiled in a discussion about which member of Take That has the most edge about him and the best period of Bowie’s career, reassured me about their musical ethics, with Kingsley, vocalist of the band, claiming that they started a band due to boredom and frustration with everything else they were hearing. Thus they had erected a significant platform from which they would have to prove that they were indeed something different, something aside from the generic that sparked them into life. And that they were, playing an hour long set that bristled with raw and energetic passion, often bordering on all out fury, but always reigning it in before their musical intent was compromised. Kingsley’s vocals switched in an ear-shattering second from quiet contemplation to raging outbursts, highlighted in their best known single ‘Kids’, which was received well by a decent sized crowd, considering that they are still unsigned and with only two major release singles. New single ‘Virgins’, which the tour is promoting, sounded like a pissed of Futureheads or Glasvegas if they stopped moping and just let it all out, and highlighted a further potential which bodes well for The Chapman Family to step up and take this country by storm.
Simon Thacker and the Nava Rasa Ensemble – Inner Octaves
Simon Thacker and the Nava Rasa Ensemble – Inner Octaves
Indian-Western Classical Fusion
Previewed by Hedd Thomas
Concert date: Tuesday 3rd November
Venue: Hall Two, The Sage Gateshead
Tickets: Student price £7.50, Full price £15
Acclaimed Scottish guitarist Simon Thacker leads an exciting new ensemble to explore the meeting of Asian and Western cultures in Inner Octaves at The Sage Gateshead this Tuesday. With two specially commissioned concerti by India's Shirish Korde and Edinburgh based Nigel Osborne as well as music by the minimalist composer Terry Riley, the programme promises to be both powerful and innovative.
Accomplished Carnatic (south Indian) violinist Jyotsna Srikanth and tabla master Sarvar Sabri are but two of the musicians that make up the Nava Rasa Ensemble which, together with Simon Thacker, includes Brazilian bassist Mario Caribé, multi-percussionist Iain Sandilands and The Edinburgh Quartet who's principal violinist, Tristan Gurney, may be familiar to some as he is also Head of Strings at Newcastle University.
Influenced by his Jazz, Indian and Western classical training, Shirish Korde also takes inspiration from other world music and computer technology. He has “created a poweful and communicative compositional language” (Computer Music Journal). Nigel Osborne has embraced music from non Western traditions, particularly Indian, and has made a name for himself as being able to effortlessly assimilate incorporate their tones and rhythms into large scale works, having recently collaborated with sarod player Wakahat Khan for Scottish Opera. He has pioneered the use of music in therapy and rehabilitation for children who are victims of conflict, particularly in the Balkans and Middle East.
This should be an entrancing concert with exciting new music performed by an international ensemble of some of the finest musicians in their field.
Indian-Western Classical Fusion
Previewed by Hedd Thomas
Concert date: Tuesday 3rd November
Venue: Hall Two, The Sage Gateshead
Tickets: Student price £7.50, Full price £15
Acclaimed Scottish guitarist Simon Thacker leads an exciting new ensemble to explore the meeting of Asian and Western cultures in Inner Octaves at The Sage Gateshead this Tuesday. With two specially commissioned concerti by India's Shirish Korde and Edinburgh based Nigel Osborne as well as music by the minimalist composer Terry Riley, the programme promises to be both powerful and innovative.
Accomplished Carnatic (south Indian) violinist Jyotsna Srikanth and tabla master Sarvar Sabri are but two of the musicians that make up the Nava Rasa Ensemble which, together with Simon Thacker, includes Brazilian bassist Mario Caribé, multi-percussionist Iain Sandilands and The Edinburgh Quartet who's principal violinist, Tristan Gurney, may be familiar to some as he is also Head of Strings at Newcastle University.
Influenced by his Jazz, Indian and Western classical training, Shirish Korde also takes inspiration from other world music and computer technology. He has “created a poweful and communicative compositional language” (Computer Music Journal). Nigel Osborne has embraced music from non Western traditions, particularly Indian, and has made a name for himself as being able to effortlessly assimilate incorporate their tones and rhythms into large scale works, having recently collaborated with sarod player Wakahat Khan for Scottish Opera. He has pioneered the use of music in therapy and rehabilitation for children who are victims of conflict, particularly in the Balkans and Middle East.
This should be an entrancing concert with exciting new music performed by an international ensemble of some of the finest musicians in their field.
Thursday, 29 October 2009
The Twilight Sad
The Twilight Sad at The Cluny 20th October
Mark Corcoran-Lettice
It might seem a bit depressing for a young band to be playing exactly the same venues they played two years ago, but their return to the Cluny seems to have brought a (relatively) sunny disposition out of Scotland’s nosiest. Returning to promote their astonishing new record Forget The Night Ahead, they treat a packed-out room to an hour of divine distortion.
First though, local indie heroes Minotaurs made up for cancelling their support slot with The Twilight Sad here two years ago with a fine, anthemic set. While frequent line-up changes may have robbed them of some momentum, their sound is all the better for it, with their swelled ranks capable of giving kindred spirits like My Latest Novel a fight. With more gigs and (with some luck) some new recordings due soon, 2010 may just be very kind to the Minotaurs.
But from the moments the incessant, droning noise that opens ‘Reflections Of The Television’ burst forth from the PA, The Twilight Sad have the venue entirely in thrall to them. Mixing new material with old favourites perfectly, they sound more confident and adventurous than ever before – certainly, it’s hard to imagine the Sad of 2007 ever writing anything as restrained and fragile as set-highlight ‘The Room’ – with frontman James Graham in particular a far more dramatic and engrossing stage presence than before.
As well received as new songs like lead single ‘I Became A Prostitute’ were (and quite deservedly so), it was the one-two punch of ‘And She Would Darken The Memory’ and a re-arranged version of their debut album’s opener ‘Cold Days From The Birdhouse’ that elicited the most cheers, not just due to their familiarity but also thanks to the extraordinarily vivid performances that the band gave of them.
It may have been their third time at The Cluny, but it wouldn’t be foolish to bet against them playing somewhere much more ambitious next time they hit Newcastle.
Mark Corcoran-Lettice
It might seem a bit depressing for a young band to be playing exactly the same venues they played two years ago, but their return to the Cluny seems to have brought a (relatively) sunny disposition out of Scotland’s nosiest. Returning to promote their astonishing new record Forget The Night Ahead, they treat a packed-out room to an hour of divine distortion.
First though, local indie heroes Minotaurs made up for cancelling their support slot with The Twilight Sad here two years ago with a fine, anthemic set. While frequent line-up changes may have robbed them of some momentum, their sound is all the better for it, with their swelled ranks capable of giving kindred spirits like My Latest Novel a fight. With more gigs and (with some luck) some new recordings due soon, 2010 may just be very kind to the Minotaurs.
But from the moments the incessant, droning noise that opens ‘Reflections Of The Television’ burst forth from the PA, The Twilight Sad have the venue entirely in thrall to them. Mixing new material with old favourites perfectly, they sound more confident and adventurous than ever before – certainly, it’s hard to imagine the Sad of 2007 ever writing anything as restrained and fragile as set-highlight ‘The Room’ – with frontman James Graham in particular a far more dramatic and engrossing stage presence than before.
As well received as new songs like lead single ‘I Became A Prostitute’ were (and quite deservedly so), it was the one-two punch of ‘And She Would Darken The Memory’ and a re-arranged version of their debut album’s opener ‘Cold Days From The Birdhouse’ that elicited the most cheers, not just due to their familiarity but also thanks to the extraordinarily vivid performances that the band gave of them.
It may have been their third time at The Cluny, but it wouldn’t be foolish to bet against them playing somewhere much more ambitious next time they hit Newcastle.
Everything Everything
Everything Everything at the Other Rooms
Rob Sellars
The Other Rooms has developed a knack in recent times of showcasing new bands that go on to discover the dizzy heights of success, and Everything Everything will be hoping the trend continues. With three major release singles under their belt, and this, their second headline tour, in full swing, things are starting to look promising for the band, half of whom hail from Newcastle and for who this constitutes something of a homecoming, after a hectic opening to their tour. Meeting the band before the gig, tired but excited after a performance in Aberdeen the night before, local boys Jonathan (vocals) and Mike (drums) speak of their love for R Kelly, Geordie girls and TV on the Radio amongst other things, and their music too seems to incorporate such an amalgamation of tastes. Taking the harmonies of The Futureheads and the falsettos of Wild Beasts, Everything Everything apply the synths of the aforementioned TVOTR and produce a unique and refreshing sound. The band attract a decent crowd considering their still unsigned status, and play an hour long set that ranges from the epic to pop in a way that brings Flaming Lips to mind and highlights their expansive musical range. New single ‘My Keys, Your Boyfriend’ draws an excited response, and delivers in fine form, while ‘NASA Is On Your Side’ cuts between ethereal and pop in teasing blasts, suggesting that a debut album will feature enough to please anyone’s fancies. The band look at home on the stage, happy playing to a local crowd who are keen to express their affection, and if they carry on as they are, that affection may start coming from a much bigger audience.
Rob Sellars
The Other Rooms has developed a knack in recent times of showcasing new bands that go on to discover the dizzy heights of success, and Everything Everything will be hoping the trend continues. With three major release singles under their belt, and this, their second headline tour, in full swing, things are starting to look promising for the band, half of whom hail from Newcastle and for who this constitutes something of a homecoming, after a hectic opening to their tour. Meeting the band before the gig, tired but excited after a performance in Aberdeen the night before, local boys Jonathan (vocals) and Mike (drums) speak of their love for R Kelly, Geordie girls and TV on the Radio amongst other things, and their music too seems to incorporate such an amalgamation of tastes. Taking the harmonies of The Futureheads and the falsettos of Wild Beasts, Everything Everything apply the synths of the aforementioned TVOTR and produce a unique and refreshing sound. The band attract a decent crowd considering their still unsigned status, and play an hour long set that ranges from the epic to pop in a way that brings Flaming Lips to mind and highlights their expansive musical range. New single ‘My Keys, Your Boyfriend’ draws an excited response, and delivers in fine form, while ‘NASA Is On Your Side’ cuts between ethereal and pop in teasing blasts, suggesting that a debut album will feature enough to please anyone’s fancies. The band look at home on the stage, happy playing to a local crowd who are keen to express their affection, and if they carry on as they are, that affection may start coming from a much bigger audience.
John Otway
John Otway at The Cluny 23rd October
John Tait
What do we know about John Otway? Well he was in the charts in the 70’s, along with Barrett, their music being somewhat Punk and somewhat something else. The duo seem to have had a cult following during their active years and tonight I watched, along with a very mixed age audience, a performance of banjo’s, bagpipes and an unfamiliar, electronic instrument. Original, energetic and sometimes touching, with plenty of sarcasm to boot (Barrett stared, unimpressed at the crowd), the gig was one to remember and I found myself cheering heartily at the end of Beware of the flowers.
John Tait
What do we know about John Otway? Well he was in the charts in the 70’s, along with Barrett, their music being somewhat Punk and somewhat something else. The duo seem to have had a cult following during their active years and tonight I watched, along with a very mixed age audience, a performance of banjo’s, bagpipes and an unfamiliar, electronic instrument. Original, energetic and sometimes touching, with plenty of sarcasm to boot (Barrett stared, unimpressed at the crowd), the gig was one to remember and I found myself cheering heartily at the end of Beware of the flowers.
Thursday, 22 October 2009
Editors (with the Joy Formidable)
Editors (w/ the Joy Formidable)
Reviewed by Scott McLoughlin
The Editor’s Newcastle gig was characterised by one of the most surreal crowd atmospheres I have ever experienced. The Joy Formidable began the evening’s entertainments with their hybrid ‘Welsh countryside meets industrial London sound’. They make a huge noise for just a trio. Whilst watching them it became clear that their live performances completely eclipsed and surpass the quality of their recorded material. Recordings which I now feel do them an injustice. Highlights include the strangely familiar sounding track ‘Austere’. As thoroughly enjoyable the Joy Formidable were; I was some what distracted by the man stood directly in front of me. He smelt strangely of peanuts, adding ‘smell’ to the audible sensory stimulus I was already experiencing. Anyway, I was then privileged enough to meet the band after their performance in their homely tour van. They are truly genuine people, filled with a desire to make good music whilst being true to their own definition of what good music is. There mentality was refreshingly non-conformist for a decent band in a chart orientated world; having said this however, I would say they do sound a lot like many other indie acts. I recommend you give them a try at least. I then rejoined the crowd just as Editors took to the stage. I hasten to add that I completely missed the second support act’s performance. Therefore they aren’t even getting discussed. Professional of me, I know.
With Editors on stage the Crowd, though markedly less peanuty, made a concerted effort to step up its level of weird. Nobody wanted to move their feet at all. Not even once, for the duration of the Editor’s mammoth 2hour performance. Hands moved fine, so did arms. Head movement was acceptable. Feet and Legs? No! Unbelievably static, the only exception was the immediate first two or three rows of spectators which seemed to suss out jumping on the spot. Having said all this, I’m not sure I’d have jumped about like an idiot given the opportunity. The Editors sound is neither frantic, nor is it sleep inducing. They hit a fine balance of electricity and melody which apparently renders the lower half of your body unable to move. The only gig I have been to that was more centred on standing around was Gary Numan in Newcastle last year (which was amazing, though equally still). Speaking of Numan, and thus synths, when the hell did Editors put such an emphasis on synthesisers? Their performance was littered with them. To their credit, they were tight, had an amazing sound quality and entertaining stage visuals. The synth’s role to a large extent was to bulk out their sound. Yet, I can’t help but feel that even without the synths the sound would have been full, due to; delightful bass playing, on occasion luscious sounding piano, and their now characteristic guitar tone. All this and I haven’t even mentioned Tom Smith and his raspy, deep, belting voice. I’d argue Tom is the closest our generation has had to a ‘Morrissey’. A popular voice you instantly recognise. It doesn’t disappoint live.
Curiously, throughout the night a trend developed. The crowd in general reacted much more positively to the Editors earlier material. Highlight songs of the gig included first album tracks such as ‘Munich’ and ‘All Sparks’. The second album tracks ‘Smokers Outside the Hospital Doors’ and ‘End has a Start’ also went down a treat. The Third album material however, though still good (in a looser sense) suffered from under-familiarity; and to a lesser degree lack of the Editors characteristic guitar tone. Furthermore I was slightly scared by one trancey-er, all electro, track. All in all it was a fine performance; but, a performance for the most part so unimposing it felt like listening to a CD. If I’d stayed at home with a CD at least I could have sat down.
3/5
Reviewed by Scott McLoughlin
The Editor’s Newcastle gig was characterised by one of the most surreal crowd atmospheres I have ever experienced. The Joy Formidable began the evening’s entertainments with their hybrid ‘Welsh countryside meets industrial London sound’. They make a huge noise for just a trio. Whilst watching them it became clear that their live performances completely eclipsed and surpass the quality of their recorded material. Recordings which I now feel do them an injustice. Highlights include the strangely familiar sounding track ‘Austere’. As thoroughly enjoyable the Joy Formidable were; I was some what distracted by the man stood directly in front of me. He smelt strangely of peanuts, adding ‘smell’ to the audible sensory stimulus I was already experiencing. Anyway, I was then privileged enough to meet the band after their performance in their homely tour van. They are truly genuine people, filled with a desire to make good music whilst being true to their own definition of what good music is. There mentality was refreshingly non-conformist for a decent band in a chart orientated world; having said this however, I would say they do sound a lot like many other indie acts. I recommend you give them a try at least. I then rejoined the crowd just as Editors took to the stage. I hasten to add that I completely missed the second support act’s performance. Therefore they aren’t even getting discussed. Professional of me, I know.
With Editors on stage the Crowd, though markedly less peanuty, made a concerted effort to step up its level of weird. Nobody wanted to move their feet at all. Not even once, for the duration of the Editor’s mammoth 2hour performance. Hands moved fine, so did arms. Head movement was acceptable. Feet and Legs? No! Unbelievably static, the only exception was the immediate first two or three rows of spectators which seemed to suss out jumping on the spot. Having said all this, I’m not sure I’d have jumped about like an idiot given the opportunity. The Editors sound is neither frantic, nor is it sleep inducing. They hit a fine balance of electricity and melody which apparently renders the lower half of your body unable to move. The only gig I have been to that was more centred on standing around was Gary Numan in Newcastle last year (which was amazing, though equally still). Speaking of Numan, and thus synths, when the hell did Editors put such an emphasis on synthesisers? Their performance was littered with them. To their credit, they were tight, had an amazing sound quality and entertaining stage visuals. The synth’s role to a large extent was to bulk out their sound. Yet, I can’t help but feel that even without the synths the sound would have been full, due to; delightful bass playing, on occasion luscious sounding piano, and their now characteristic guitar tone. All this and I haven’t even mentioned Tom Smith and his raspy, deep, belting voice. I’d argue Tom is the closest our generation has had to a ‘Morrissey’. A popular voice you instantly recognise. It doesn’t disappoint live.
Curiously, throughout the night a trend developed. The crowd in general reacted much more positively to the Editors earlier material. Highlight songs of the gig included first album tracks such as ‘Munich’ and ‘All Sparks’. The second album tracks ‘Smokers Outside the Hospital Doors’ and ‘End has a Start’ also went down a treat. The Third album material however, though still good (in a looser sense) suffered from under-familiarity; and to a lesser degree lack of the Editors characteristic guitar tone. Furthermore I was slightly scared by one trancey-er, all electro, track. All in all it was a fine performance; but, a performance for the most part so unimposing it felt like listening to a CD. If I’d stayed at home with a CD at least I could have sat down.
3/5
Tuesday, 20 October 2009
Kill It Kid / Sparrow and the Workshop
Review of Kill It Kid / Sparrow and the Workshop
Scott McLoughlin
In depths of Edinburgh and Cabaret Voltaire’s basement venue Kill It Kid move into position on to the stage. You can’t help but notice the youth before you. The average age of Kill It Kid cannot be more than 20. Next thing you know, you are mesmerised, utterly transfixed on Chris Turpin’s Voice. Chris himself, adorned with a black cowboy-esk shirt and skinny jeans, looks slight behind his electro acoustic guitar. You stand like those around you trying simply to comprehend how such a commanding voice came out of such an unimposing figure. Finally you grow accustomed, and to your delight realise there is a lot of sound to be receptive too. Piano playing vocalist Stephanie Ward in any other band set up would be more than strong enough to lead. Indeed, she has a lead role in songs such as ‘Private Idaho’ and ‘Dirty Water’. Nevertheless, Stephanie and Chris’ vocal harmonising offers the listeners a delightful and beautiful contrast; holding your attention effortlessly. Nevertheless, the Bath five-piece keep on giving. Electrifying fiddle, pure piano, and driving bass tones are rounded up by stampeding drums. In contrast to their recorded material the drums are much more an integral part to the live Kill It Kid experience. Drummer Marc Jones appears to be a man beating out his soul for a higher purpose. A third of the way through the set Chris Turpin picks up his sunburst Les Paul guitar, and grabs his slider in preparation for steel thrashing blues. Well rehearsed and tight, Kill it Kid will not disappoint; even if they are not what you would usually go and watch. Slower paced dynamic and beautiful melodious movements contrast to fast, rockier and raw blues tracks throughout the set. From what I witnessed set highlights include ‘Send me an Angel Down’ and ‘Dirty Water’.
As if you hadn’t already had your fill, Sparrow and the Workshop take to the Floor. The Glasgow based trio produce a much subtler and cuter sound than Kill It before them. I found them much more formulaic, and gentle. Not necessarily a bad thing after such an enormous performance. Their aim seems to be a pop-folk-country sound from times gone by; soothingly familiar yet new. The Edinburgh crowd reacted well to the delicate voice of Sparrow and the accompanying Celtic male harmonies. Addictive drums and alternation between big bass tones and accompanying electric guitar bolster Sparrow’s acoustic lamenting. Their sound reflects their diversity of background, a three piece composed of an American, a Scot and a Welshman is bound to provide some interesting results. A confident and enjoyable performance; clearly festival experiences at Glastonbury and Kendal Calling have done much to develop their stagecraft and fan base. Future support slots with Idlewild are set to take the band to new and yet undiscovered heights.
Hopefully they’ll both visit Newcastle soon.
Scott McLoughlin
In depths of Edinburgh and Cabaret Voltaire’s basement venue Kill It Kid move into position on to the stage. You can’t help but notice the youth before you. The average age of Kill It Kid cannot be more than 20. Next thing you know, you are mesmerised, utterly transfixed on Chris Turpin’s Voice. Chris himself, adorned with a black cowboy-esk shirt and skinny jeans, looks slight behind his electro acoustic guitar. You stand like those around you trying simply to comprehend how such a commanding voice came out of such an unimposing figure. Finally you grow accustomed, and to your delight realise there is a lot of sound to be receptive too. Piano playing vocalist Stephanie Ward in any other band set up would be more than strong enough to lead. Indeed, she has a lead role in songs such as ‘Private Idaho’ and ‘Dirty Water’. Nevertheless, Stephanie and Chris’ vocal harmonising offers the listeners a delightful and beautiful contrast; holding your attention effortlessly. Nevertheless, the Bath five-piece keep on giving. Electrifying fiddle, pure piano, and driving bass tones are rounded up by stampeding drums. In contrast to their recorded material the drums are much more an integral part to the live Kill It Kid experience. Drummer Marc Jones appears to be a man beating out his soul for a higher purpose. A third of the way through the set Chris Turpin picks up his sunburst Les Paul guitar, and grabs his slider in preparation for steel thrashing blues. Well rehearsed and tight, Kill it Kid will not disappoint; even if they are not what you would usually go and watch. Slower paced dynamic and beautiful melodious movements contrast to fast, rockier and raw blues tracks throughout the set. From what I witnessed set highlights include ‘Send me an Angel Down’ and ‘Dirty Water’.
As if you hadn’t already had your fill, Sparrow and the Workshop take to the Floor. The Glasgow based trio produce a much subtler and cuter sound than Kill It before them. I found them much more formulaic, and gentle. Not necessarily a bad thing after such an enormous performance. Their aim seems to be a pop-folk-country sound from times gone by; soothingly familiar yet new. The Edinburgh crowd reacted well to the delicate voice of Sparrow and the accompanying Celtic male harmonies. Addictive drums and alternation between big bass tones and accompanying electric guitar bolster Sparrow’s acoustic lamenting. Their sound reflects their diversity of background, a three piece composed of an American, a Scot and a Welshman is bound to provide some interesting results. A confident and enjoyable performance; clearly festival experiences at Glastonbury and Kendal Calling have done much to develop their stagecraft and fan base. Future support slots with Idlewild are set to take the band to new and yet undiscovered heights.
Hopefully they’ll both visit Newcastle soon.
Chase and Status
Review of Chase and Status at Digital 11th October
Matt Hudspith
Previous experiences of drum and bass nights for me have involved standing in room 2 in Fabric (London) surrounded by loads of people drugged up to the eyeballs looking so far from where they actually were it’s scary. Yet last night at Digital (Newcastle), was a completely new experience. I have to admit I had a preconceived opinion that Chase and Status were more intent on making big tunes for the money rather than the love of music, but I’m pleased to say that last night they proved me wrong. The gig was incredible. They had so much energy and the crowd reacted extremely well. It was more like being at a rock gig than anything else. Yet although that sounds strange I’m starting to realize why that is so; although recent production work with the likes of Rihanna and Canadian hip-hop artist Drake may suggest otherwise, it’s clear that some of their major influences are from rock music. The club was packed, a third of the dance floor taken up by the stage and filled with at least 1000 people, the night was full of elbows to the face, sweat drenched t-shirts and a good handful of mosh-pits. The show was hosted by MC Rage who got the crowd moving right from the start and was easily the centerpiece of the whole show, while Saul Milton (Chase) and Will Kennard (Status) were glued to keyboards, synths, and laptops turning the stomachs of those in digital upside down and inside out through the heavy basslines that shot out of Digital’s notorious ‘Funktion1’ sound system. They played the whole of their debut album ‘More Than Alot’ along with personal favourites of mine ‘Heartbreak’ and ‘Saxon’ which aren’t included on their debut album. Plan B, the special guest for the night, was extremely well received and sung their new single End Credits, and finished off the night with arguably everyone’s favourite from the album ‘Pieces’. Their new album on Vertigo Records is set to be finished by next February, and with a release date within the first half of next year this one is not only set to be huge, but full of surprises!
Matt Hudspith
Previous experiences of drum and bass nights for me have involved standing in room 2 in Fabric (London) surrounded by loads of people drugged up to the eyeballs looking so far from where they actually were it’s scary. Yet last night at Digital (Newcastle), was a completely new experience. I have to admit I had a preconceived opinion that Chase and Status were more intent on making big tunes for the money rather than the love of music, but I’m pleased to say that last night they proved me wrong. The gig was incredible. They had so much energy and the crowd reacted extremely well. It was more like being at a rock gig than anything else. Yet although that sounds strange I’m starting to realize why that is so; although recent production work with the likes of Rihanna and Canadian hip-hop artist Drake may suggest otherwise, it’s clear that some of their major influences are from rock music. The club was packed, a third of the dance floor taken up by the stage and filled with at least 1000 people, the night was full of elbows to the face, sweat drenched t-shirts and a good handful of mosh-pits. The show was hosted by MC Rage who got the crowd moving right from the start and was easily the centerpiece of the whole show, while Saul Milton (Chase) and Will Kennard (Status) were glued to keyboards, synths, and laptops turning the stomachs of those in digital upside down and inside out through the heavy basslines that shot out of Digital’s notorious ‘Funktion1’ sound system. They played the whole of their debut album ‘More Than Alot’ along with personal favourites of mine ‘Heartbreak’ and ‘Saxon’ which aren’t included on their debut album. Plan B, the special guest for the night, was extremely well received and sung their new single End Credits, and finished off the night with arguably everyone’s favourite from the album ‘Pieces’. Their new album on Vertigo Records is set to be finished by next February, and with a release date within the first half of next year this one is not only set to be huge, but full of surprises!
Tuesday, 13 October 2009
Mumford and Sons
Review of Mumford and Sons at The Cluny
Christian Allen
21st September 2009
Gone are the stereotypes of middle aged, grass chewing, check-shirted men finger picking banjos to the delight of a gaggle of flowery dresses. Mumford and Sons are surely the figurehead to a new generation of lively folk acts, armed with beautiful vocal harmonies, talented musicianship and mood-altering, poetic lyrics. This is by no means a ‘scene’ more a community of musicians who join each other on tour and contribute backing vocals more often than an England football team on a novelty tournament song.
Tonight is a welcome return for Marcus Mumford and Co, with various sound issues marring their last visit to Newcastle at an intimate Cumberland Arms gig. They announce their arrival with a hushed, almost acapella version of ‘Sigh No More’ before breaking out into ‘Awake My Soul’ which does more than just wake a dozen members of the crowd who seem intent in barn dancing, and strangely pogoing their way through the set.
Latest single ‘Little Lion Man’ is greeted with a merry chant along from the sold old crowd and looks set to become the bands anthem, the sort of song fans will pester them to play throughout their career. Indeed the band, like a conductor, has the crowd in their complete control. When the instruments cut out the gathering fall silent, hanging on every lovelorn word. Then as the banjo, drums, bass and guitar take over, the audience can’t help but stomp their feet along. The set finishes on the perfect final song, ‘Dust Bowl Dance’. A personal favourite of mine, it’s a track which comes into its own live with Marcus Mumford putting any of his remaining energy into the drum kit.
Tonight we’re treated to a set which plays almost the complete track listing of M&S’s debut album ‘Sigh No More’. A fitting name for an album which, live, perfectly expresses both a broken heart and sorrow before offering hope and optimism. Although the album has received mixed reviews, Mumford & Sons show tonight their gift for storytelling and performance which leaves the crowd spellbound and promises much for their future
Christian Allen
21st September 2009
Gone are the stereotypes of middle aged, grass chewing, check-shirted men finger picking banjos to the delight of a gaggle of flowery dresses. Mumford and Sons are surely the figurehead to a new generation of lively folk acts, armed with beautiful vocal harmonies, talented musicianship and mood-altering, poetic lyrics. This is by no means a ‘scene’ more a community of musicians who join each other on tour and contribute backing vocals more often than an England football team on a novelty tournament song.
Tonight is a welcome return for Marcus Mumford and Co, with various sound issues marring their last visit to Newcastle at an intimate Cumberland Arms gig. They announce their arrival with a hushed, almost acapella version of ‘Sigh No More’ before breaking out into ‘Awake My Soul’ which does more than just wake a dozen members of the crowd who seem intent in barn dancing, and strangely pogoing their way through the set.
Latest single ‘Little Lion Man’ is greeted with a merry chant along from the sold old crowd and looks set to become the bands anthem, the sort of song fans will pester them to play throughout their career. Indeed the band, like a conductor, has the crowd in their complete control. When the instruments cut out the gathering fall silent, hanging on every lovelorn word. Then as the banjo, drums, bass and guitar take over, the audience can’t help but stomp their feet along. The set finishes on the perfect final song, ‘Dust Bowl Dance’. A personal favourite of mine, it’s a track which comes into its own live with Marcus Mumford putting any of his remaining energy into the drum kit.
Tonight we’re treated to a set which plays almost the complete track listing of M&S’s debut album ‘Sigh No More’. A fitting name for an album which, live, perfectly expresses both a broken heart and sorrow before offering hope and optimism. Although the album has received mixed reviews, Mumford & Sons show tonight their gift for storytelling and performance which leaves the crowd spellbound and promises much for their future
Friday, 9 October 2009
The Cribs
The Cribs
Peter Nish
Having seen The Cribs live a few times before I knew what to expect of the incestuous Wakefield trio, renowned for their intense sets normally delivered for to relieve a pack of desperate fans. But things have changed slightly since I saw them last, with a commercially successful record produced by Alex Kapranos and the recruitment of guitar legend Johnny Marr as a fourth member. Would it still be The Cribs experience?
The gig was held in the basement of the Newcastle Union, with the compact venue being squeezed to the front by the sell out crowd. The band opened with We Were Aborted from the new album, Ignore the Ignorant, but it was classic Hey Scenesters! that sweated the crowd into motion. The loyal mob were true to form creating a little chaos at the frontline that was sustained throughout the gig.
The band now have an extensive range of material to pick from with the release of the fourth album, with songs being cleverly selected for the current set. There was strong reception to much of the earlier material played, with Direction of the first album being a particular highlight. The more recent essentials of Men’s Needs and I’m a Realist being definite crowd pleasers.
The new material, which still has to fully grow on me, was integrated well with the band not feeling the need to bombard their agenda. The presence of Johnny Marr onstage was an exciting prospect, but in reality he fitted with the band, although there were a few Johnny chants addressing his status. The band finished with a new song A City of Bugs that demonstrated the potential of the new album to be a mini-classic.
The gig definitely reiterated the fact that The Cribs live experience is one of the best about, and that it would require a few more superstars before it would change them.
Peter Nish
Having seen The Cribs live a few times before I knew what to expect of the incestuous Wakefield trio, renowned for their intense sets normally delivered for to relieve a pack of desperate fans. But things have changed slightly since I saw them last, with a commercially successful record produced by Alex Kapranos and the recruitment of guitar legend Johnny Marr as a fourth member. Would it still be The Cribs experience?
The gig was held in the basement of the Newcastle Union, with the compact venue being squeezed to the front by the sell out crowd. The band opened with We Were Aborted from the new album, Ignore the Ignorant, but it was classic Hey Scenesters! that sweated the crowd into motion. The loyal mob were true to form creating a little chaos at the frontline that was sustained throughout the gig.
The band now have an extensive range of material to pick from with the release of the fourth album, with songs being cleverly selected for the current set. There was strong reception to much of the earlier material played, with Direction of the first album being a particular highlight. The more recent essentials of Men’s Needs and I’m a Realist being definite crowd pleasers.
The new material, which still has to fully grow on me, was integrated well with the band not feeling the need to bombard their agenda. The presence of Johnny Marr onstage was an exciting prospect, but in reality he fitted with the band, although there were a few Johnny chants addressing his status. The band finished with a new song A City of Bugs that demonstrated the potential of the new album to be a mini-classic.
The gig definitely reiterated the fact that The Cribs live experience is one of the best about, and that it would require a few more superstars before it would change them.
Tuesday, 6 October 2009
The Boxer Rebellion @ The Other Rooms, 30.09.09
The Boxer Rebellion gig review
Stephen Ferrell
The Boxer Rebellion have always had a loyal fan base but the packed gig at the other rooms shows they are now also building a sizeable one as well. After the collapse of the Poptones label that the band were previously signed to. They chose to go down the route of self-funding and releasing their second album United. As Todd from the band said when I spoke to him before the gig. This has been a difficult route to go down. Though it is one they are glad they have taken as it gives them full control of the music they make. It was tracks from both this album and there first the often-underrated Exits that the band played throughout a highly energetic stage performance. They interacted with the crowd very well throughout the gig. The crowd clearly loving it and singing along to every track ‘Forces’ clearly being a particular crowd favourite. As alternative rock goes The Boxer rebellion are undeniably one of the bands that make the most danceable music. A large part of the crowd also took full advantage of this fact also. Looking around the other rooms it was clear to see this band is first-rate entertainers. Although I did not go to the gig as fan of the Boxer Rebellion. I certainly left considering myself to be one. Now I and I believe everyone else that was there will be looking forward to there next appearance in Newcastle. I can only see this band going from strength to strength and believe there public profile is set to become very big in the next few months.
Boxer Rebellion Interview by Louise Morris
Stephen Ferrell
The Boxer Rebellion have always had a loyal fan base but the packed gig at the other rooms shows they are now also building a sizeable one as well. After the collapse of the Poptones label that the band were previously signed to. They chose to go down the route of self-funding and releasing their second album United. As Todd from the band said when I spoke to him before the gig. This has been a difficult route to go down. Though it is one they are glad they have taken as it gives them full control of the music they make. It was tracks from both this album and there first the often-underrated Exits that the band played throughout a highly energetic stage performance. They interacted with the crowd very well throughout the gig. The crowd clearly loving it and singing along to every track ‘Forces’ clearly being a particular crowd favourite. As alternative rock goes The Boxer rebellion are undeniably one of the bands that make the most danceable music. A large part of the crowd also took full advantage of this fact also. Looking around the other rooms it was clear to see this band is first-rate entertainers. Although I did not go to the gig as fan of the Boxer Rebellion. I certainly left considering myself to be one. Now I and I believe everyone else that was there will be looking forward to there next appearance in Newcastle. I can only see this band going from strength to strength and believe there public profile is set to become very big in the next few months.
Boxer Rebellion Interview by Louise Morris
Tuesday, 24 March 2009
Red Light Company @ The Cluny 11/03/2009
I have to admit, I made way down to The Cluny for the Red Light Company gig with a slight sense of trepidation. After all, there are only so many times you can hear their current single ‘Arts and Crafts’ being played repeatedly on the radio before you start to develop a little bit of resentment towards a band. However, I kept reminding myself that Grammatics, a new band everyone should hear, were supporting and that some of the songs from Fine Fascination, RLC’s debut album, were actually surprisingly good, so I kept the chin up and my mind open. First support The Chevrolites were an essentially standard lad-rock band of the moment but got the crowd a little excited, and main support Grammatics more than lived up to the hype, with a display that was as alternative as it was energetic, as tantalising as it was disappointing when they eventually had to leave the stage. So the scene had been set perfectly for Red Light Company to wander on and massively disappoint, and please all those kids who are so cool they hear one song and declare them the new Razorlight or U2 with a flick of the wrist and a turned up nose. But here’s the twist, they were actually pretty damn good. They prowled round The Cluny’s infamously small stage as if they were playing to Wembley, and every song was delivered with a verve and intensity that delighted the sold out venue. Crowd favourites such as ‘Scheme Eugene’ and ‘Meccano’ shook the surrounding area, and even ‘Arts and Crafts’ was given a whole new lease of life when delivered at this level. To actually appreciate Red Light Company, they have to be seen live, where a half decent album becomes anthem after pulsating anthem. Carry on this way, and they might find themselves in those stadiums after all.
Review by Rob Sellars
General Fiasco on 04/03/2009
Considering the Irish three-piece that is General Fiasco are not even signed yet and have only released two singles so far, the fact they have such an impressive turn out to their first headline tour says a lot about the hype they have received and the dedicated following they have managed to build online. While the crowd seems to average out as a) female and b) between 15 and 19 years old, we head in unperturbed, firstly because we’re one of the few actually able to get served at the bar, and secondly because the last time we saw General Fiasco live, we only caught one and a half songs and they still managed to be one of the best bands we saw at the festival we happened to be visiting. And they don’t disappoint, with every song of their set managing to build on an energy and passion that lies at the core of their brand of music. Online favourites such as ‘Ever So Shy’ and closer ‘Rebel Get By’ send the crowd into a frenzy, while current single ‘Something Sometime’ is apparently so adored you would think its top of the charts. From start to finish their intensity never dips below frantic, and the power and tightness in their live display is almost bewildering for a band so new on the circuit. The youngsters returned home more than happy, and those who have been round a bit longer left knowing they’d just seen a band destined for bigger and better things.
Review by Rob Sellars
Review by Rob Sellars
Friday, 6 March 2009
Local Artist Profile: Beth Jeans Houghton
You must have caught her play a gig, Beth Jeans Houghton, a young Newcastle singer with a beautiful voice. Her style is the shy girl who likes long eye lashes and a lot of glitter. She has supported artists such as Mystery Jets and Woodpigeon (preformed with them not too long ago). Currently she is playing a lot of gigs in London, but will hopefully bring her stylish shyness back on the stage in Newcastle.
profile by Solveig Werner
profile by Solveig Werner
Local Artist Profile: Little Comets
Little Comets, you must at least heard off them, lately they have been taking off massively. I guess after they supported Electric Six it all started for these Newcastle boys. Their current single, “One Night In October”, a proper dance tune gets played on MTV2 and all over the radio. On their upcoming tour they have got a Newcastle date, but you might be lucky to catch them at a houseparty.Text and image by Solveig Werner
Wednesday, 25 February 2009
Ra Ra Riot @ Academy 2 on 14/02/09
Even though it was Valentine’s Day the upstairs of the Academy was
rather full, and it wasn’t just single people in need for a change of mind. No wonder, after all Ra Ra Riot are an amazing, must have see band!
After missing the 1st support act, I still managed to catch The Answering Machine Cliffer. This band did not blow me away, nor did they annoy me, they were a support band that you don’t mind seeing. They could file here and there to make their setting a bit more exciting, the punch was missing in there. Still, the singer looked a bit like a young Jarvis, which helped people warming up to the Answering Machine.
As they have only released one album, “The Rumb Line”, their set wasn’t too long. One can only hope that next time that they’ll hit Newcastle there will be some new tunes in store.
rather full, and it wasn’t just single people in need for a change of mind. No wonder, after all Ra Ra Riot are an amazing, must have see band!After missing the 1st support act, I still managed to catch The Answering Machine Cliffer. This band did not blow me away, nor did they annoy me, they were a support band that you don’t mind seeing. They could file here and there to make their setting a bit more exciting, the punch was missing in there. Still, the singer looked a bit like a young Jarvis, which helped people warming up to the Answering Machine.
When Ra Ra Riot stepped on the stage there was a sudden wave of happiness going through the room. This band, having a very painful past, must be the happiest bunch I got to see in the last couple of months. They enchanted their audience
with their very melodic, string based music. You get taken on a musical voyage, a trip involving classical music and alternative rock that makes you want to drop everything and dance. Dance, most people did that, or at least they jumped around like little kids, and sang along to the songs they knew. During one song the bass and guitar players retreated to the back of the stage, letting the vocalist, cellist, and violinist have the public for themselves. It was classical music with singing.
As they have only released one album, “The Rumb Line”, their set wasn’t too long. One can only hope that next time that they’ll hit Newcastle there will be some new tunes in store.Try to catch Ra Ra Riot, as they will make you feel happy inside every single cell of your body by the time you leave the gig, the only thing that will make you sad is that the gig is over.
Review and pictures by Solveig Werner
Wednesday, 18 February 2009
Preview - Noah And The Whale @ The Sage, Gateshead 10/03/09
The Sage - an ‘international home for music and musical discovery’. This fantastic venue is entirely dedicated to music of all varieties; jazz, country, and even classical. So having a recently popular indie band such as Noah And The Whale to play is quite a statement. It shows that this band can’t be just like any other outfit, dishing out pop song after pop song, there is a lot more to them, i.e. genuine musical talent. Noah And The Whale have a definite feel to their music, when listening to their album Peaceful, The World Lays Me Down I realised it has a lot of depth and sentiment to it. With carefully constructed lyrics and violin-clad harmonies it’s folksy and jolly in some parts, and dark and acoustic in others, broken up by the odd irresistible country-esque indie track. It takes a few listens to really appreciate it, but once you get to know and love the charming melodies, seeing this band live must be an absolute treat, a sing-a-long for want of a better phrase. With such an array of tracks this gig promises to deliver a varied and blossoming performance, and well if they’re playing at The Sage then they must be good, ukuleles and all.
Preview by Marzena Dabrowska
Thursday, 5 February 2009
Innerpartysystem @ Academy 2 03/02/09
Waiting in the queue for a sold out gig, just after having interviewed the headline band Innerpartysystem, I found myself surrounded by a lot of young girls. These girls were all dressed the same way. It was a bit disturbing, as I did not picture ISP to have a fan base of that nature.
It seems to have become a fashion for me not to see the first support act. I did not even dare step into the venue and only heard My Passion from the merch table. My excuse is that I did not want to loose my hearing, and that I had a very good conversation with ISP manager.
MC Rut (standing for Middle Class) from Sacramento (CAKE’s home town)
were the next band to perform, and they were much more of my liking. I enjoyed their set, even though I have the feeling something was missing in it. I am not quite sure what it was though. A certain punch, but all in all I should not complain as I had a great time, and those two boys had a lot of energy when on stage. After the show I had a short conversation with the drummer (picture), a very nice guy I have to say, and well we talked about CAKE. He very much took a liking in my CAKE obsession.
Finally my very tiered self got to enjoy the very energetic set of Innerpartysystem.
I myself think their music is electronic rock, with hints of metal meets dance. The music was great, and should be played on more dance floors! Music wasn’t the only important thing of their set; no there was an underling factor to the electronic side of it all. They put to show an amazing lighting, making it seem more like a club night than a concert. They ended the show with their current single “Don’t Stop”, sung by the whole crowd as well as the band.
I can only recommend you to catch ISP when you have the chance to do so.
Review by Solveig Werner
It seems to have become a fashion for me not to see the first support act. I did not even dare step into the venue and only heard My Passion from the merch table. My excuse is that I did not want to loose my hearing, and that I had a very good conversation with ISP manager.
MC Rut (standing for Middle Class) from Sacramento (CAKE’s home town)
were the next band to perform, and they were much more of my liking. I enjoyed their set, even though I have the feeling something was missing in it. I am not quite sure what it was though. A certain punch, but all in all I should not complain as I had a great time, and those two boys had a lot of energy when on stage. After the show I had a short conversation with the drummer (picture), a very nice guy I have to say, and well we talked about CAKE. He very much took a liking in my CAKE obsession.Finally my very tiered self got to enjoy the very energetic set of Innerpartysystem.
I myself think their music is electronic rock, with hints of metal meets dance. The music was great, and should be played on more dance floors! Music wasn’t the only important thing of their set; no there was an underling factor to the electronic side of it all. They put to show an amazing lighting, making it seem more like a club night than a concert. They ended the show with their current single “Don’t Stop”, sung by the whole crowd as well as the band.I can only recommend you to catch ISP when you have the chance to do so.
Review by Solveig Werner
Sunday, 1 February 2009
NME Awards Tour, 01.02.09, Carling Academy
Arriving a little late to the gig, due to rowdy football fans causing riot’s on the streets of Newcastle, Florence and the Machine are already in full swing. It’s easy to tell this is not your classical indie act it’s obvious from the second you see the stage, not a guitar insight, instead a harp and a stage set-up that is almost theatrical.
From Florence’s quirky clothes to her cappella voice you can tell why she’s shot to fame and bagged a performance slot at the BRIT awards. Her songs are elaborately arranged with a mixture of vocals and instrumental parts with a hint of eccentricity, which makes her different from her contemporaries. When “kiss with a fist” kicks in you see Florence’s love of performing as she twirls around on stage and works up frenzy in the crowd. When the final song “dog days are over” ends, Florence dances off stage leaving everyone wanting just a bit more.
White Lies are the second band on and after their recent success of a number 1 album you could tell expectations were going to be high. White Lies influences are fairly easy to cite such as Joy Division, Interpol and Editors with the lead singer often compared to the likes of Ian Curtis and Julian Cope due to his singing style. The band is on form tonight; still on a high from there number one hit they play a perfect set. Almost a bit too perfect, from their matching black shirts and serious faces every chord and vocal is expertly placed.
Barely a word is spoken to the audience and few exchanges are made between the band as there is almost an unspoken agreement that no charades are needed, just the music. This is all too clear when dark tones of “to lose my life” begin. Throughout the gig it was hard not to be captivated by the lead singer’s, Harry McVeigh, voice with the somber drone of it that could almost cause a shiver. They round of the gig with “death”, intense and in true White Lies style - flawless.
Review by Ann-Marie Loughney
Seconds after White Lies had, sadly, departed the stage; a shy foursome slinked on to set up for the next act. Quicker, and more efficient than most, these mysterious, downward-gazing roadies, were off again in as many seconds. Leaving only disco balls in a glittering heap next to a single, also glittering, drum and a keyboard that looked like the control panel of a spaceship (or at least how I would imagine one of those to look like). The bright lights dimmed to flickers and a soft cheer rumbled through the crowd, swiftly turning into hushed confusion as the same foursome appeared again. This time with dance moves. These were Friendly Fires.
They introduced themselves in the first line of their opener ‘Photobooth’. Instantly all eyes were fixed on the front man Ed MacFarlane. Bounding, gliding and snake-hipping his way across the stage, in somehow perfect harmony with the electric rock hybrid beats screaming out of their instruments, he was riotous and captivating with a voice which was both joyful and desperate. It is impossible to fight the urge to dance for the full 37minute set, their sound is unique and spunky but with influences of Prince and Chic. Their closeness as a band – together for four years now – is notable, the occasional hair-ruffling, and the odd look of mutual admiration; basically they looked like they were having just as much, if not more, fun as the heaving crowd. Closing with their biggest hit to date ‘Paris’, synthetic and thoughtful, proves to be an electric end to an electric show and as Friendly Fires say their thank yous and goodbyes politely, they can be safe in the knowledge that they have shown their potential to be the band to watch this year…just don’t stare at the disco balls for too long.
Headliners Glasvegas left the crowd waiting, still hyper and rowdy from the previous acts, for a little too long. Finally appearing to excitable cheers, dressed all in black and with solemn expressions, they aren’t the most cheerful of bands we’ve seen tonight but when ‘Geraldine’ kicks off the set comes alight and James Allen’s’ broad Glaswegian vocals echo around the room. After a Number 1 album, expectations were high and thick in the air and, at times, they didn’t disappoint. ‘Daddy’s Gone’ in particular was epic. Moving and emotional, the crowds singing along to the whole chorus solo, it was eerie and excellent.
However, apart from a strange moment where the bassist appeared to be playing the keyboard on a skateboard, the rest of their performance wasn’t quite so captivating. Although the band was musically tight, the booming stadium-rock choruses were similar on every song and – no offence to the Scots – the heavy accent made the lyrics almost impossible to follow. At times they almost become too powerful and the drum beats (from an upright black-haired lady) and scratchy guitars shook the room a little too hard, drowning out the melodies certain to be underneath. Their sound is certainly quite original and made them a success of 2008 but the telling of Glasvegas will come with their second album, perhaps just listen to them on CD until then.
Overall, NME put on a good show. A quirky, exciting and complementary selection of bands, some good, some greater, and everyone went out dancing and humming into the snow.
Review by Hannah Tomlinson
From Florence’s quirky clothes to her cappella voice you can tell why she’s shot to fame and bagged a performance slot at the BRIT awards. Her songs are elaborately arranged with a mixture of vocals and instrumental parts with a hint of eccentricity, which makes her different from her contemporaries. When “kiss with a fist” kicks in you see Florence’s love of performing as she twirls around on stage and works up frenzy in the crowd. When the final song “dog days are over” ends, Florence dances off stage leaving everyone wanting just a bit more.
White Lies are the second band on and after their recent success of a number 1 album you could tell expectations were going to be high. White Lies influences are fairly easy to cite such as Joy Division, Interpol and Editors with the lead singer often compared to the likes of Ian Curtis and Julian Cope due to his singing style. The band is on form tonight; still on a high from there number one hit they play a perfect set. Almost a bit too perfect, from their matching black shirts and serious faces every chord and vocal is expertly placed.
Barely a word is spoken to the audience and few exchanges are made between the band as there is almost an unspoken agreement that no charades are needed, just the music. This is all too clear when dark tones of “to lose my life” begin. Throughout the gig it was hard not to be captivated by the lead singer’s, Harry McVeigh, voice with the somber drone of it that could almost cause a shiver. They round of the gig with “death”, intense and in true White Lies style - flawless.
Review by Ann-Marie Loughney
Seconds after White Lies had, sadly, departed the stage; a shy foursome slinked on to set up for the next act. Quicker, and more efficient than most, these mysterious, downward-gazing roadies, were off again in as many seconds. Leaving only disco balls in a glittering heap next to a single, also glittering, drum and a keyboard that looked like the control panel of a spaceship (or at least how I would imagine one of those to look like). The bright lights dimmed to flickers and a soft cheer rumbled through the crowd, swiftly turning into hushed confusion as the same foursome appeared again. This time with dance moves. These were Friendly Fires.
They introduced themselves in the first line of their opener ‘Photobooth’. Instantly all eyes were fixed on the front man Ed MacFarlane. Bounding, gliding and snake-hipping his way across the stage, in somehow perfect harmony with the electric rock hybrid beats screaming out of their instruments, he was riotous and captivating with a voice which was both joyful and desperate. It is impossible to fight the urge to dance for the full 37minute set, their sound is unique and spunky but with influences of Prince and Chic. Their closeness as a band – together for four years now – is notable, the occasional hair-ruffling, and the odd look of mutual admiration; basically they looked like they were having just as much, if not more, fun as the heaving crowd. Closing with their biggest hit to date ‘Paris’, synthetic and thoughtful, proves to be an electric end to an electric show and as Friendly Fires say their thank yous and goodbyes politely, they can be safe in the knowledge that they have shown their potential to be the band to watch this year…just don’t stare at the disco balls for too long.
Headliners Glasvegas left the crowd waiting, still hyper and rowdy from the previous acts, for a little too long. Finally appearing to excitable cheers, dressed all in black and with solemn expressions, they aren’t the most cheerful of bands we’ve seen tonight but when ‘Geraldine’ kicks off the set comes alight and James Allen’s’ broad Glaswegian vocals echo around the room. After a Number 1 album, expectations were high and thick in the air and, at times, they didn’t disappoint. ‘Daddy’s Gone’ in particular was epic. Moving and emotional, the crowds singing along to the whole chorus solo, it was eerie and excellent.
However, apart from a strange moment where the bassist appeared to be playing the keyboard on a skateboard, the rest of their performance wasn’t quite so captivating. Although the band was musically tight, the booming stadium-rock choruses were similar on every song and – no offence to the Scots – the heavy accent made the lyrics almost impossible to follow. At times they almost become too powerful and the drum beats (from an upright black-haired lady) and scratchy guitars shook the room a little too hard, drowning out the melodies certain to be underneath. Their sound is certainly quite original and made them a success of 2008 but the telling of Glasvegas will come with their second album, perhaps just listen to them on CD until then.
Overall, NME put on a good show. A quirky, exciting and complementary selection of bands, some good, some greater, and everyone went out dancing and humming into the snow.
Review by Hannah Tomlinson
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