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.
Thursday, 29 October 2009
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
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