The Joy Formidable play tonight as part of the NME Radar tour. After the performance they gave, they’ve plonked themselves well and truly on the map.
After an interesting set (in the broadest sense of the word) by support act the Flats, followed by Chapel Club, the crowd rapturously applaud the Joy Formidable on stage. The North Wales three piece outfit suit their name – they are a joy to watch and will be a formidable presence in the music industry. Songs such ‘Greyhounds in the Slips’ and the amusingly titled ‘My Beerdrunk Soul is Sadder Than a Hundred Dead Christmas Trees’ sound fantastic live, the drummer Matt Thomas in particular giving the performance of his life. Ritzy Bryan and Rhydian Dafydd make an endearing pair on vocals, making good interaction with the crowd and declaring their love of Newcastle. T
here really is little to fault about their performance, and new single ‘I Don’t Want To See You Like This’ is an instant crowd pleaser. Their climatic final song is played with such ferocity, such commitment and passion, it is almost mesmerising to watch. Ritzy Bryan swoons round the stage, waving her guitar around, turning knobs and dials scattered across the stage, all of which keeps the mood of the music unpredictable, engrossing and original. Once their new album, ‘The Big Roar’, is released, the only way is up for these Welsh rockers. The reassuring thing is, they thoroughly deserve it.
Michael Worthington
Monday, 1 November 2010
Northumberland Arms, 19th October
I shall at this moment that I am not, and indeed never have been, a keen fan of hardcore nor punk music and so it comes as no surprise when I shall that the gig at the Northumberland Arms on 19th October was my first hardcore gig. I must also take this opportunity to state that I was surprised by the sheer quality of the hardcore scene in Newcastle, with the level of musicianship being far above that I am used to seeing at low-key pub gigs.
The night opened with a refreshing and surprising rebirth of the early 1990s shoe-gazing genre, with the local artist, ‘Waskerley Way’, taking his name from a cycle route crossing the Pennines ending just shy of Newcastle. The landscapes which must be visible whilst on this route, I hope are as lush and breath taking as the sonic landscapes which he produces with little more than a guitar, producing the trademark shoe-gazing wall of sound, and a laptop producing electronic and thoroughly modern beats and back parts.
The display of local talent continued with the likes of ‘Tide of Iron’, who also started the night’s hardcore line-up with their powerful instrumental skill. A power-trio in the strictest and truest sense of the phrase, the interplay between all three members shows a dynamic and bond which many bands who are touring and playing much larger venues fail to have. Tight, feedback riffs emanate from the guitar over the truly thunderous bass parts, both of which fit perfectly over the heart-pounding drums which deafen and shake a venue where a PA system isn’t quite required and yet gives Tide of Iron the high decibel power which their music fits so perfectly.
Austria’s ‘The Plague Mass’ did not let up when it came to both onstage energy and indeed volume providing a barrage of ‘Rammstein’ -influenced continental hardcore rock. On tour throughout the rest of mainland Europe and indeed England, these rockers seemed not to see Newcastle as ‘just another gig, in yet another city’. The explosive nature of their furious guitar work and thunderous drums shows the eager energy of an enthusiastic band who are passionate about the job they have set themselves, and most importantly they enjoy it. Singing in a mixture of both German and English, where in the instances of the former, much of the audience could not understand the lyrics not being fluent, it was no matter. Just as with the shoe-gazing vocals heard earlier, those of ‘The Plague Mass’ are delivered in such a way that specific understanding or even hearing of particular words and lyrics is unimportant, so is singing filled with angst and anger, which does not need a dictionary to be translated from German to English, or in fact Geordie.
The evening was brought to an epic end in the form of the Cornwall originating ‘Crocus’ whose brand of so called ‘screamo’ music I would never describe as ‘my cup of tea’ was nonetheless performed with the energy and passionate which the previous acts had seemed to leave upon the stage. In an era where their angst-driven lyrics can be found being played on Radio 1 by such fellow hardcore bands as Enter Shakari, it may not be long before ‘Crocus’ start receiving air-play of their own. The talent is there.
And I think this can be said for all of the bands which graced the slightly cramped and low-ceilinged stage of the Northumberland. The talent is present. When the charts today are found filled with seemingly endless and mindless ‘R’n’B’ tracks, it gives me hope that although they do not tailor to my taste directly, the spirit of rock, however hardcore, is still alive and well, to be found in the local pub on a cold Tuesday night.
Will Reynolds
The night opened with a refreshing and surprising rebirth of the early 1990s shoe-gazing genre, with the local artist, ‘Waskerley Way’, taking his name from a cycle route crossing the Pennines ending just shy of Newcastle. The landscapes which must be visible whilst on this route, I hope are as lush and breath taking as the sonic landscapes which he produces with little more than a guitar, producing the trademark shoe-gazing wall of sound, and a laptop producing electronic and thoroughly modern beats and back parts.
The display of local talent continued with the likes of ‘Tide of Iron’, who also started the night’s hardcore line-up with their powerful instrumental skill. A power-trio in the strictest and truest sense of the phrase, the interplay between all three members shows a dynamic and bond which many bands who are touring and playing much larger venues fail to have. Tight, feedback riffs emanate from the guitar over the truly thunderous bass parts, both of which fit perfectly over the heart-pounding drums which deafen and shake a venue where a PA system isn’t quite required and yet gives Tide of Iron the high decibel power which their music fits so perfectly.
Austria’s ‘The Plague Mass’ did not let up when it came to both onstage energy and indeed volume providing a barrage of ‘Rammstein’ -influenced continental hardcore rock. On tour throughout the rest of mainland Europe and indeed England, these rockers seemed not to see Newcastle as ‘just another gig, in yet another city’. The explosive nature of their furious guitar work and thunderous drums shows the eager energy of an enthusiastic band who are passionate about the job they have set themselves, and most importantly they enjoy it. Singing in a mixture of both German and English, where in the instances of the former, much of the audience could not understand the lyrics not being fluent, it was no matter. Just as with the shoe-gazing vocals heard earlier, those of ‘The Plague Mass’ are delivered in such a way that specific understanding or even hearing of particular words and lyrics is unimportant, so is singing filled with angst and anger, which does not need a dictionary to be translated from German to English, or in fact Geordie.
The evening was brought to an epic end in the form of the Cornwall originating ‘Crocus’ whose brand of so called ‘screamo’ music I would never describe as ‘my cup of tea’ was nonetheless performed with the energy and passionate which the previous acts had seemed to leave upon the stage. In an era where their angst-driven lyrics can be found being played on Radio 1 by such fellow hardcore bands as Enter Shakari, it may not be long before ‘Crocus’ start receiving air-play of their own. The talent is there.
And I think this can be said for all of the bands which graced the slightly cramped and low-ceilinged stage of the Northumberland. The talent is present. When the charts today are found filled with seemingly endless and mindless ‘R’n’B’ tracks, it gives me hope that although they do not tailor to my taste directly, the spirit of rock, however hardcore, is still alive and well, to be found in the local pub on a cold Tuesday night.
Will Reynolds
The Count and Sinden, Digital, 22nd October
Having had the honour to meet and interview The Count and Sinden mere hours before their headline slot at Digital, I had the opportunity to question them on their set-list, but like every great artist and magician, they were tight-lipped on what was to come.
But what was to come was an amazing display of skill and ability as not only DJs but as performers, playing what can only be described as an enjoyable set of dance-music, house music to be exact, even for someone such as me whose ear for the electronic and dance side of music is limited.
Although their latest tour, on which this is one of the larger dates, was described by the duo themselves as an album promoting tour, this was not to say that they merely played their first release, the under-played ‘Mega Mega Mega’ from start to finish as it appears on the CD, as is the temptation with performing the latest album. Although the quality of their own album tracks and indeed the performances of them were flawless, The Count and Sinden only really hit their stride when a remix of other artist’s tracks are coming out of the decks and through the speakers.
Having spoken in the interview before about their admiration and friendship with Mr. Mark Ronson it was only minutes into their set, a fabulous reworking of Mark Ronson and the Business Int.’s ‘Bang Bang Bang’ resulted in the transformation of a, in my opinion, bland track into a dance floor filling track. The alternative-infused house-music which marks The Count and Sinden apart from other Djs in my eyes continued as later in their set, the pair dropped their fantastic collaboration with the Mystery Jets, ‘After Dark’, one of the best tracks of the past 12 months.
When a performer is as good as The Count and Sinden were, then the set list they play is irrelevant as the performance itself is so inspiring and entertaining that your lack of knowledge of the tracks fades away to pure enjoyment. The skill and indeed passion shown by both The Count and Sinden was a perfect example of a musical bond and friendship which can only be found between a limited number of musical duos. The Gallagher’s rarely spoke on stage, or even off it, Jagger and Richards have a notoriously strained relationship, but this icy working environment was not to be found at Digital with The Count and Sinden.
With one of the greatest sights I have seen on a stage was the pair playing, on various occasions, on the same set of decks, bouncing ideas of each other and making the other grin, laugh and indeed dance at a dropped beat or musical interlude. This comradely, shown initially as friendship in the interview, transformed into a seemingly telepathic musical link with the sole purpose of wowing the crowd of Digital and to reduce the dance floor to a teeming mass of movement and enjoyment.
Will Reynolds
But what was to come was an amazing display of skill and ability as not only DJs but as performers, playing what can only be described as an enjoyable set of dance-music, house music to be exact, even for someone such as me whose ear for the electronic and dance side of music is limited.
Although their latest tour, on which this is one of the larger dates, was described by the duo themselves as an album promoting tour, this was not to say that they merely played their first release, the under-played ‘Mega Mega Mega’ from start to finish as it appears on the CD, as is the temptation with performing the latest album. Although the quality of their own album tracks and indeed the performances of them were flawless, The Count and Sinden only really hit their stride when a remix of other artist’s tracks are coming out of the decks and through the speakers.
Having spoken in the interview before about their admiration and friendship with Mr. Mark Ronson it was only minutes into their set, a fabulous reworking of Mark Ronson and the Business Int.’s ‘Bang Bang Bang’ resulted in the transformation of a, in my opinion, bland track into a dance floor filling track. The alternative-infused house-music which marks The Count and Sinden apart from other Djs in my eyes continued as later in their set, the pair dropped their fantastic collaboration with the Mystery Jets, ‘After Dark’, one of the best tracks of the past 12 months.
When a performer is as good as The Count and Sinden were, then the set list they play is irrelevant as the performance itself is so inspiring and entertaining that your lack of knowledge of the tracks fades away to pure enjoyment. The skill and indeed passion shown by both The Count and Sinden was a perfect example of a musical bond and friendship which can only be found between a limited number of musical duos. The Gallagher’s rarely spoke on stage, or even off it, Jagger and Richards have a notoriously strained relationship, but this icy working environment was not to be found at Digital with The Count and Sinden.
With one of the greatest sights I have seen on a stage was the pair playing, on various occasions, on the same set of decks, bouncing ideas of each other and making the other grin, laugh and indeed dance at a dropped beat or musical interlude. This comradely, shown initially as friendship in the interview, transformed into a seemingly telepathic musical link with the sole purpose of wowing the crowd of Digital and to reduce the dance floor to a teeming mass of movement and enjoyment.
Will Reynolds
Kodo - One Earth Tour
Hall One, The Sage Gateshead, 15th October
Elevated on a platform bordered with glowing lanterns, the heavily-varnished o-daiko gleamed centre-stage. Magnificent in both size and design, its mere presence commanded respect from the eager audience that filled Hall One in The Sage Gateshead. Around it lay an array of Japanese drums in all shapes and sizes. The lights dimmed and a spot shone on the front nagado-daiko that rested on the floor. Its player entered, took position and, with the softest tap that managed to fill the whole room, began an evening of music like no other.
Founded in 1981, Kodo are based on the 'floating treasure chest' of traditional Japanese culture, Sado Island. The birthplace of Noh theatre and now also home to three varieties of puppet theatre, the island has for centuries been a centre for the arts in the Land of the Rising Sun. Today, its history and natural beauty provide fitting inspiration for Kodo to create rhythms of the most primal type – rhythms belonging to an ancient art that was almost lost forever during the Second World War but, thanks to the tireless work of veterans of the group, is now very much alive.
On stage, the large drum was being beaten faster and stronger. A scream of effort took its player to his knees and, after beating harder than seemed physically possible, another agonising scream brought him back to his feet. His body tense and his head shuddering to the rhythms, he somehow found the stamina to drum through two or three more distinct phrases before a final strike gave rise to a rapturous opening applause.
Lighter, more fun pieces followed. There were smiles all round when, led by the young Yoshie Sunahata, individuals of Kodo had the chance to show off their skills as they each took turns to entertain the audience and themselves with short solo impromptus. Later, a comic piece that demonstrated all the nuances and colours hand cymbals have to offer caused plenty of laughs from both those on- and off-stage. There was a growing sense, however, that many of us were waiting to hear just one thing – the grand o-daiko mounted on the platform.
But that would have to wait as entering the stage was a lady. Tied with a white knot, her beautiful red kimono was embroidered with two small butterflies just visible from these front rows and her black hair was tied up, decorated with a crimson flower. In white slippers, she shuffled towards a small mounted nagado-daiko and, with two delicate taps, began a plaintive duet with a male member of the ensemble drumming in a corner of the stage. Their music captivating and the lady's graceful movements bewitching, the pair told a melancholic tale of unfulfilled passion between two young lovers, separated by distance but united by the spirit of the drum.
It is believed that the sounds of the daiko resemble the very first rhythm experienced by us all – that of a mother's heartbeat in the womb. Indeed, its thunderous vibrations are often used to help lull a baby to sleep. “Heartbeat” is in fact one of two meanings of “Kodo”. The second, read in a different way, is “Children of the Drum”, a reflection of Kodo's desire to play their drums simply, with the heart of a child.
There was nothing simple, however, about one piece. Composed especially for Kodo in 1976 by the late Maki Ishii, 'Monochrome' was as thrilling to listen to as it was complex to play. Incorporating mainly small shime-daiko, it was possible to hear everything from the gentle sound of rain drops to a swarm of locusts drummed out at an unbearable volume. At such points, time would seemingly stand still before crashing back down to earth again with the mighty boom of a gong. With such sophisticated techniques used throughout the 22-minute composition and such masterly playing to match, this was a definite highlight of the evening.
Then, finally, the moment had arrived. The platform was wheeled to the front of the stage and, as a heralding song came to its close, the loin cloth-clad leader of Kodo, Yoshikazu Fujimoto, and his apprentice climbed on board. For a moment, silence filled the hall. Then the first tap to the black and white painted skin took its place, resonating in all directions, then the second, the third and fourth, quicker and quicker until a steady rhythm was maintained. Bouncing on his feet like a boxer in the ring, Fujimoto was putting his whole muscle-laden body behind each strike, attacking the o-daiko with his beaters like a wild beast. A change of rhythm, more variation this time, his painful gasping for air clearly audible whenever he had the chance. And as if the sight of his drumming and the sweat pouring down his bare neck and back hadn't transfixed every pair of eyes in the room, there was another visual element to the event: a giant shadow of Fujimoto's caused by the platform lanterns was flickering on the ceiling, evocative of spirits or silhouettes dancing in a cave. A mighty climactic beat lead to a deafening cheer before a final flurry of percussion by the entire cast brought about the end of the show.
A powerful performance, primal and earthly in many ways, Kodo's 'One Earth' was both of a forgotten age and timeless. Executed with true Japanese precision and incredible energy, we were all privileged to be a part of this concert given by the very best in their field.
Hedd Thomas
Elevated on a platform bordered with glowing lanterns, the heavily-varnished o-daiko gleamed centre-stage. Magnificent in both size and design, its mere presence commanded respect from the eager audience that filled Hall One in The Sage Gateshead. Around it lay an array of Japanese drums in all shapes and sizes. The lights dimmed and a spot shone on the front nagado-daiko that rested on the floor. Its player entered, took position and, with the softest tap that managed to fill the whole room, began an evening of music like no other.
Founded in 1981, Kodo are based on the 'floating treasure chest' of traditional Japanese culture, Sado Island. The birthplace of Noh theatre and now also home to three varieties of puppet theatre, the island has for centuries been a centre for the arts in the Land of the Rising Sun. Today, its history and natural beauty provide fitting inspiration for Kodo to create rhythms of the most primal type – rhythms belonging to an ancient art that was almost lost forever during the Second World War but, thanks to the tireless work of veterans of the group, is now very much alive.
On stage, the large drum was being beaten faster and stronger. A scream of effort took its player to his knees and, after beating harder than seemed physically possible, another agonising scream brought him back to his feet. His body tense and his head shuddering to the rhythms, he somehow found the stamina to drum through two or three more distinct phrases before a final strike gave rise to a rapturous opening applause.
Lighter, more fun pieces followed. There were smiles all round when, led by the young Yoshie Sunahata, individuals of Kodo had the chance to show off their skills as they each took turns to entertain the audience and themselves with short solo impromptus. Later, a comic piece that demonstrated all the nuances and colours hand cymbals have to offer caused plenty of laughs from both those on- and off-stage. There was a growing sense, however, that many of us were waiting to hear just one thing – the grand o-daiko mounted on the platform.
But that would have to wait as entering the stage was a lady. Tied with a white knot, her beautiful red kimono was embroidered with two small butterflies just visible from these front rows and her black hair was tied up, decorated with a crimson flower. In white slippers, she shuffled towards a small mounted nagado-daiko and, with two delicate taps, began a plaintive duet with a male member of the ensemble drumming in a corner of the stage. Their music captivating and the lady's graceful movements bewitching, the pair told a melancholic tale of unfulfilled passion between two young lovers, separated by distance but united by the spirit of the drum.
It is believed that the sounds of the daiko resemble the very first rhythm experienced by us all – that of a mother's heartbeat in the womb. Indeed, its thunderous vibrations are often used to help lull a baby to sleep. “Heartbeat” is in fact one of two meanings of “Kodo”. The second, read in a different way, is “Children of the Drum”, a reflection of Kodo's desire to play their drums simply, with the heart of a child.
There was nothing simple, however, about one piece. Composed especially for Kodo in 1976 by the late Maki Ishii, 'Monochrome' was as thrilling to listen to as it was complex to play. Incorporating mainly small shime-daiko, it was possible to hear everything from the gentle sound of rain drops to a swarm of locusts drummed out at an unbearable volume. At such points, time would seemingly stand still before crashing back down to earth again with the mighty boom of a gong. With such sophisticated techniques used throughout the 22-minute composition and such masterly playing to match, this was a definite highlight of the evening.
Then, finally, the moment had arrived. The platform was wheeled to the front of the stage and, as a heralding song came to its close, the loin cloth-clad leader of Kodo, Yoshikazu Fujimoto, and his apprentice climbed on board. For a moment, silence filled the hall. Then the first tap to the black and white painted skin took its place, resonating in all directions, then the second, the third and fourth, quicker and quicker until a steady rhythm was maintained. Bouncing on his feet like a boxer in the ring, Fujimoto was putting his whole muscle-laden body behind each strike, attacking the o-daiko with his beaters like a wild beast. A change of rhythm, more variation this time, his painful gasping for air clearly audible whenever he had the chance. And as if the sight of his drumming and the sweat pouring down his bare neck and back hadn't transfixed every pair of eyes in the room, there was another visual element to the event: a giant shadow of Fujimoto's caused by the platform lanterns was flickering on the ceiling, evocative of spirits or silhouettes dancing in a cave. A mighty climactic beat lead to a deafening cheer before a final flurry of percussion by the entire cast brought about the end of the show.
A powerful performance, primal and earthly in many ways, Kodo's 'One Earth' was both of a forgotten age and timeless. Executed with true Japanese precision and incredible energy, we were all privileged to be a part of this concert given by the very best in their field.
Hedd Thomas
Friday, 8 October 2010
Architects, 02 Academy 2, Monday 4th October
The last couple of years have seen the prominence and the fan base of Architects soar. Their blazing performance at the 02 Academy 2 is an indication why.
The event was bursting at high energy levels well before Architects graced the stage – a sold out crowd proceeded to mosh relentlessly throughout the three support acts, culminating in a ferocious fight between two fans during the Norma Jean set. The two troublemakers were subsequently dragged out of the venue. However it was Architect’s who packed the biggest punch tonight. Once on stage, the Architects got straight down to business.
Songs such as ‘In Arrogance’ and their latest single ‘Day In Day Out’ ooze with flavour and impressive vocals from frontman Sam Carter. Songs ‘Early Grave’ and ‘Numbers Count For Nothing’ are both utterly stunning – the frenzied response from the crowd a clear reflection of this. The Brighton born frontman commanded the audience to "get drunk and have some fun" - the mass of moshing fans willingly obliged.
Architects produce a sound that is both uncompromising and ferocious, and it is evident that every band member puts 110% into their performance. The Architects send out a clear message from their explosive set. They are on top of their game, and the only way is up. Although their style of music is not suited to everyone’s taste, they have clear potential to be heavy-weights in their own genre.
Michael Worthington
The event was bursting at high energy levels well before Architects graced the stage – a sold out crowd proceeded to mosh relentlessly throughout the three support acts, culminating in a ferocious fight between two fans during the Norma Jean set. The two troublemakers were subsequently dragged out of the venue. However it was Architect’s who packed the biggest punch tonight. Once on stage, the Architects got straight down to business.
Songs such as ‘In Arrogance’ and their latest single ‘Day In Day Out’ ooze with flavour and impressive vocals from frontman Sam Carter. Songs ‘Early Grave’ and ‘Numbers Count For Nothing’ are both utterly stunning – the frenzied response from the crowd a clear reflection of this. The Brighton born frontman commanded the audience to "get drunk and have some fun" - the mass of moshing fans willingly obliged.
Architects produce a sound that is both uncompromising and ferocious, and it is evident that every band member puts 110% into their performance. The Architects send out a clear message from their explosive set. They are on top of their game, and the only way is up. Although their style of music is not suited to everyone’s taste, they have clear potential to be heavy-weights in their own genre.
Michael Worthington
Tuesday, 20 July 2010
Preview The Playground Presents: Kavinsky, Kap Bambino, Autokratz...
KAVINSKY // KAP BAMBINO // AUTOKRATZ // IS TROPICAL// TEENAGERS IN TOKYO // PUNX SOUNDCHECK // RUBICKS
SATURDAY 14th AUGUST 2010
KOKO, 1A CAMDEN HIGH ST, LONDON, NW1 7JE
9pm – 3am
£10 advance / £13 door
Tickets from www.ticketground.co.uk
Purveyors of style and taste The Playground are taking over the sumptuous surroundings of Camden’s KOKO for a night of cutting edge electro and intoxicating beats this August. A jam packed line-up spread across two different rooms in the venue includes some of Kitsune's finest live acts the catchy and incendiary live performers Autokratz and remix masters Punx Soundcheck. The night is headlined by the smooth eighties-infused electro of Kavinsky.
Other unmissable acts include the poppy synth-led finesse of Rubicks, and Is Tropical (new Kitsune signing) with their infectious blend of wonky electro, quirky lyrics, and rock inspired rhythms - the new Late of the Pier?
With the backing of trend setting company de jour The Playground and their impeccable selection of live acts, this night is a must for all who deem themselves connoisseurs of modern dance music so grab a ticket before they go from www.ticketground.co.uk and come down to dance like your shoes don’t fit.
By Louise Morris
SATURDAY 14th AUGUST 2010
KOKO, 1A CAMDEN HIGH ST, LONDON, NW1 7JE
9pm – 3am
£10 advance / £13 door
Tickets from www.ticketground.co.uk
Purveyors of style and taste The Playground are taking over the sumptuous surroundings of Camden’s KOKO for a night of cutting edge electro and intoxicating beats this August. A jam packed line-up spread across two different rooms in the venue includes some of Kitsune's finest live acts the catchy and incendiary live performers Autokratz and remix masters Punx Soundcheck. The night is headlined by the smooth eighties-infused electro of Kavinsky.
Other unmissable acts include the poppy synth-led finesse of Rubicks, and Is Tropical (new Kitsune signing) with their infectious blend of wonky electro, quirky lyrics, and rock inspired rhythms - the new Late of the Pier?
With the backing of trend setting company de jour The Playground and their impeccable selection of live acts, this night is a must for all who deem themselves connoisseurs of modern dance music so grab a ticket before they go from www.ticketground.co.uk and come down to dance like your shoes don’t fit.
By Louise Morris
Tuesday, 15 June 2010
Evolution Festival Newcastle 2010
The biggest musical event of the North Eastern calendar Evolution festival which straddles the Tyne is now more expensive and more full of pre-pubescent drunkards than ever before due its strategic occurrence right in the middle of university exams...still don’t let that put you off, the line up was varied to say the least with fantastic dance heavy acts dominating the Blatic stage on the Sunday and chilled folk on Monday up at the Ballast hill stage. In case you were forced into confinement due to exam guilt or couldn’t face the possibility of having to listen to Tynchy Strider, here’s what you missed:
How to sum up the initial atmosphere of Evolution 2010....well, the ticket queues were a mile long, full of underdressed underage girls/overdressed orange women with stilettos (yes at a festival) and hyped up boys determined to smoke as much as possible to convince everyone around them they were actually old enough to do so. By 4pm the younger festival goers were mainly covered in the own vomit, passed out on the way back to the Baltic stage, or whirling around in mosh pits, formed regardless of the musical genre of the performers.
But enough moaning, Beardyman was his usual ingenious and charismatic self, mixing and beatboxing tracks completely new tracks live with irreverent comments on the Newcastle sun thrown in for good measure. Filthy Dukes provided a decent DJ set with remixes and old favourites, though certain tracks did seem to crop up all too often across the artists who played the Baltic stage...Scratch Perverts provided a refreshing change of tone with their dub style remixes and Doorly’s set was dancey and fun, but it was Fake Blood that most people were waiting for. Despite the man himself (Theo Keating) being typically elusive and refusing to give NSR a mini interview/vox pop as he just doesn’t do interviews, photos and all that jazz he played a crowd pleasing set of heavy electro/house, getting everyone bopping up and down in frenzy as really how many people can actually dance properly to house? Stand out track was “I Think I Like It” though sadly Theo ignored requests for the incredible “Mars”. All in all an energetic day.
Monday: Ahh the Ballast Hill stage, an oasis of calm, circus skills, ice cream and actual grass. This is where I spent most of my day to watch the folky acts perform inside their red and yellow tent. Arrived part way through talented Illinois singer Lissie’s set, I’d never heard her stuff before but her powerful husky voice successfully carried her band’s mix of slightly country infused rock, acoustic balladry and soul. If the small crowd of newly converted fans clustering around the backstage fence are anything to go by good things are going to happen for Lissie this year- like supporting the incredible Local Natives on their current tour.
I was slightly worried at the severe lack of people in the tent before Slow Club’s set and their ridiculously early time slot- they really should’ve been headlining the day. The lovable Sheffield duo blustered on to the stage to a suddenly bustling tent, and their first song collapsed into giggles as drum fell over and beer was spilt much to the consternation of Rebecca, apparently poor old artists performing at Evolution are only entitled to one free pint! They pulled it all together though and delivered a heart warming, beautiful performance, showcasing many new tracks from the upcoming (and yet to be recorded) second album, all with characteristically poignant lyrics though often with a darker underside and more driving percussion. Rebecca asked for requests then rejected the ones she deemed naff before making every male audience member’s heart leap when she professed that if she thought the Geordie accent the best for a boyfriend! Old favourites like “Because We’re Dead”, “It Doesn’t Have To Be Beautiful” and “Giving Up On Love” were rapturously received and the haunting “Wild Blue Milk” was an apt set closer.
Caught some of local band Brilliant Mind’s enthusiastic set at the Unsigned stage, enjoyable indie pop at its best, a blast of noise from Dananananaykroyd’s final song at Spiller’s stage then back up to Ballast Hill for Danny and the Champions of the World. The folky troupe completely filled the stage with a total of eight members toting anything from a bango to a fiddle to a harmonica. The songs were lovely laid back old fashioned country/folk but got gradually more repetitious as their set went on, my musician friend with me at the time declared that they needed “better arrangement”. Briefly saw De La Soul for a bit of old school hip hop, though apparently their set was a tad disappointing including none of their most famous tracks. Then it was gothy London outfit The Horrors turn to impress, something they failed miserably to do. The band assembled themselves in their twiggy-legged way, but what was that I could see? Colour?? Oh yes one of the Horrors had decided to break the mould of conformity and was brazenly sporting a patterned shirt! They started up a murky dirge of looped chords as the crowd eagerly anticipated Faris’s arrival. Ten minutes later, the music was still the same boring fuzz and when the frontman finally decided to make his not so fashionably late entrance he couldn’t even sing! His voice was cracked and could barely be heard over the guitars, which some wise sound engineer when hearing his wrecked vocals had turned up. What can I say? Yes the second album is pretty good but CD rather than live listening is advisable.
Oh dear, another let down was the rather tragic self-important performance of Donovan, allegedly a great singer from the 60s/70s, though judging by the quality of his twee poppy songs it was hard to see why. He enlightened his audience with gems of name dropping crap (“The Beach Boys, Beatles, oh yes I knew all of them”), constantly trying to enhance his own prestige but failing to back it up with any credibility. *disclaimer- this seems to be an entirely subjective opinion as he had a large audience of attentive fans old and young, I just discovered I really wasn’t one of them!*
Evolution headliners Delphic just couldn’t compete with the noise restrictions hampering the Baltic stage and gave a bit of a lack lustre set, but the festival was an entertaining mix of artists, styles and events, at times very very good and at others very very bad.
3.5/5
How to sum up the initial atmosphere of Evolution 2010....well, the ticket queues were a mile long, full of underdressed underage girls/overdressed orange women with stilettos (yes at a festival) and hyped up boys determined to smoke as much as possible to convince everyone around them they were actually old enough to do so. By 4pm the younger festival goers were mainly covered in the own vomit, passed out on the way back to the Baltic stage, or whirling around in mosh pits, formed regardless of the musical genre of the performers.
But enough moaning, Beardyman was his usual ingenious and charismatic self, mixing and beatboxing tracks completely new tracks live with irreverent comments on the Newcastle sun thrown in for good measure. Filthy Dukes provided a decent DJ set with remixes and old favourites, though certain tracks did seem to crop up all too often across the artists who played the Baltic stage...Scratch Perverts provided a refreshing change of tone with their dub style remixes and Doorly’s set was dancey and fun, but it was Fake Blood that most people were waiting for. Despite the man himself (Theo Keating) being typically elusive and refusing to give NSR a mini interview/vox pop as he just doesn’t do interviews, photos and all that jazz he played a crowd pleasing set of heavy electro/house, getting everyone bopping up and down in frenzy as really how many people can actually dance properly to house? Stand out track was “I Think I Like It” though sadly Theo ignored requests for the incredible “Mars”. All in all an energetic day.
Monday: Ahh the Ballast Hill stage, an oasis of calm, circus skills, ice cream and actual grass. This is where I spent most of my day to watch the folky acts perform inside their red and yellow tent. Arrived part way through talented Illinois singer Lissie’s set, I’d never heard her stuff before but her powerful husky voice successfully carried her band’s mix of slightly country infused rock, acoustic balladry and soul. If the small crowd of newly converted fans clustering around the backstage fence are anything to go by good things are going to happen for Lissie this year- like supporting the incredible Local Natives on their current tour.
I was slightly worried at the severe lack of people in the tent before Slow Club’s set and their ridiculously early time slot- they really should’ve been headlining the day. The lovable Sheffield duo blustered on to the stage to a suddenly bustling tent, and their first song collapsed into giggles as drum fell over and beer was spilt much to the consternation of Rebecca, apparently poor old artists performing at Evolution are only entitled to one free pint! They pulled it all together though and delivered a heart warming, beautiful performance, showcasing many new tracks from the upcoming (and yet to be recorded) second album, all with characteristically poignant lyrics though often with a darker underside and more driving percussion. Rebecca asked for requests then rejected the ones she deemed naff before making every male audience member’s heart leap when she professed that if she thought the Geordie accent the best for a boyfriend! Old favourites like “Because We’re Dead”, “It Doesn’t Have To Be Beautiful” and “Giving Up On Love” were rapturously received and the haunting “Wild Blue Milk” was an apt set closer.
Caught some of local band Brilliant Mind’s enthusiastic set at the Unsigned stage, enjoyable indie pop at its best, a blast of noise from Dananananaykroyd’s final song at Spiller’s stage then back up to Ballast Hill for Danny and the Champions of the World. The folky troupe completely filled the stage with a total of eight members toting anything from a bango to a fiddle to a harmonica. The songs were lovely laid back old fashioned country/folk but got gradually more repetitious as their set went on, my musician friend with me at the time declared that they needed “better arrangement”. Briefly saw De La Soul for a bit of old school hip hop, though apparently their set was a tad disappointing including none of their most famous tracks. Then it was gothy London outfit The Horrors turn to impress, something they failed miserably to do. The band assembled themselves in their twiggy-legged way, but what was that I could see? Colour?? Oh yes one of the Horrors had decided to break the mould of conformity and was brazenly sporting a patterned shirt! They started up a murky dirge of looped chords as the crowd eagerly anticipated Faris’s arrival. Ten minutes later, the music was still the same boring fuzz and when the frontman finally decided to make his not so fashionably late entrance he couldn’t even sing! His voice was cracked and could barely be heard over the guitars, which some wise sound engineer when hearing his wrecked vocals had turned up. What can I say? Yes the second album is pretty good but CD rather than live listening is advisable.
Oh dear, another let down was the rather tragic self-important performance of Donovan, allegedly a great singer from the 60s/70s, though judging by the quality of his twee poppy songs it was hard to see why. He enlightened his audience with gems of name dropping crap (“The Beach Boys, Beatles, oh yes I knew all of them”), constantly trying to enhance his own prestige but failing to back it up with any credibility. *disclaimer- this seems to be an entirely subjective opinion as he had a large audience of attentive fans old and young, I just discovered I really wasn’t one of them!*
Evolution headliners Delphic just couldn’t compete with the noise restrictions hampering the Baltic stage and gave a bit of a lack lustre set, but the festival was an entertaining mix of artists, styles and events, at times very very good and at others very very bad.
3.5/5
Thursday, 6 May 2010
Mystery Jets – Chevrolet Spark Unscheduled Tour @ Dean Street car park
29th May 2010
Reviewed by Rob Sellars
Ok, consider this: you have Mystery Jets, finally making their return to the world after a short break following their second studio album, Twenty One. Then you have a multi-storey car park located in the heart of Newcastle upon Tyne. And finally you have a load of Chevrolet’s turned on their sides in all sorts of abstract angles. This is indeed the Chevrolet Spark Unscheduled Tour, completely free and featuring the marvellous return of Mystery Jets. The idea behind the tour is to host a series of pop-up gigs around the country, where each week residents of selected cities are given the chance to vote for their city to be the next on the tour. They then get to decide where in their fair city the gig will take place, with the only pre-requisite being that it has to be out of the norm. And it is under that condition that tonight we have all landed on the top deck of Dean Street Car Park. With a small stage at one end, and the new Chevrolet Spark’s the only vehicles in sight, it almost seems regular that gigs should be taking place in car parks these days. The much appreciated free Red Stripe does its bit towards this as well of course.
A small and intimate crowd welcome out the band, who return this July with their third studio album, Serotonin, two years after Twenty-One. With single Flash A Hungry Smile being released to test the water, reactions are positive and tonight’s expectations are high. Safe to say they far from disappoint. Speaking to the band earlier in the day, guitarist William declared that their new tunes are more quintessentially Mystery Jets, suggesting that with this album they have captured their own unique sound more than ever before. And with a healthy smattering of new songs in their set, it is easy to see what they mean, as they build on the 80’s electro sound of their second album, to create something altogether more polished and epic, inherently British, but with a massive dose of Americana infusing their sound.
The set is a crowd pleasing balance between past hits, including ‘Two Doors Down’ and ‘Young Love’, fan favourites, including a staggering rendition of ‘Behind the Bunhouse’, and samples from the new album, which suggest perhaps their third release will be the one to finally propel them to the success they so evidently deserve. Gigs such as this offer the music fan a chance to experience their live music a little differently, and tonight, thanks to Mystery Jets and Chevrolet, other bands and venues alike maybe have a little catching up to do.
Reviewed by Rob Sellars
Ok, consider this: you have Mystery Jets, finally making their return to the world after a short break following their second studio album, Twenty One. Then you have a multi-storey car park located in the heart of Newcastle upon Tyne. And finally you have a load of Chevrolet’s turned on their sides in all sorts of abstract angles. This is indeed the Chevrolet Spark Unscheduled Tour, completely free and featuring the marvellous return of Mystery Jets. The idea behind the tour is to host a series of pop-up gigs around the country, where each week residents of selected cities are given the chance to vote for their city to be the next on the tour. They then get to decide where in their fair city the gig will take place, with the only pre-requisite being that it has to be out of the norm. And it is under that condition that tonight we have all landed on the top deck of Dean Street Car Park. With a small stage at one end, and the new Chevrolet Spark’s the only vehicles in sight, it almost seems regular that gigs should be taking place in car parks these days. The much appreciated free Red Stripe does its bit towards this as well of course.
A small and intimate crowd welcome out the band, who return this July with their third studio album, Serotonin, two years after Twenty-One. With single Flash A Hungry Smile being released to test the water, reactions are positive and tonight’s expectations are high. Safe to say they far from disappoint. Speaking to the band earlier in the day, guitarist William declared that their new tunes are more quintessentially Mystery Jets, suggesting that with this album they have captured their own unique sound more than ever before. And with a healthy smattering of new songs in their set, it is easy to see what they mean, as they build on the 80’s electro sound of their second album, to create something altogether more polished and epic, inherently British, but with a massive dose of Americana infusing their sound.
The set is a crowd pleasing balance between past hits, including ‘Two Doors Down’ and ‘Young Love’, fan favourites, including a staggering rendition of ‘Behind the Bunhouse’, and samples from the new album, which suggest perhaps their third release will be the one to finally propel them to the success they so evidently deserve. Gigs such as this offer the music fan a chance to experience their live music a little differently, and tonight, thanks to Mystery Jets and Chevrolet, other bands and venues alike maybe have a little catching up to do.
Rokia Traoré and Sweet Billy Pilgrim @ The Sage
Previewed by Hedd Thomas
Concert date: Sunday 2nd May
Venue: Hall One, The Sage Gateshead
Tickets: £19.50
Rokia Traoré has come a long way and changed directions many times in her colourful career. Born into a long history of Malian musicians, the singer-songwriter and multi-instrumentalist has consistently delighted the public and critics alike for her rich and varying styles.
Releasing her first album Mouneïssa in 1997, it was musically traditional featuring such instruments as the ngoni and balafon. Three years later her album Wanita, entirely self-written, gained her worldwide attention before her 2003 album Bowmboï, featuring two tracks recorded with the Kronos Quartet, earned her the prestigious Critics Award in the BBC Radio 3 Awards for World Music 2004 as well as a spot on stage at WOMAD and a tour of North America. Her latest album Tchamantché, with which Traoré was awarded Winner of the Best Artist category in the inaugural Songlines Music Awards in 2009, features infectious afrobeat rhythms mixed with fresh guitar and vocal melodies.
Indeed, the pleasure she takes (and gives) from melding sounds from different regions and genres has given Traoré the title of Ethnomusicologist's Nightmare. As Ian Anderson wrote in fRoots, Traoré's music “is living proof of how, in the hands of an individual with real sensitivity, vision and naked talent, the result can be far greater than the sum of its parts.”
In this concert Traoré will continue this exploration of sounds by combining forces with Sweet Billy Pilgrim. Often compared to England's Radiohead and Icelandic post-rock group Sigur Rós, Sweet Billy Pilgrim comprises singer-songwriter Tim Elsenburg, bassist and bajo player Anthony Bishop and drummer Alistair Hamer. Nominated for the Mercury Music Prise in 2009, their latest album Twice Born Men has received critical acclaim on the English rock scene.
This concert is set up to be a fascinating encounter between a Malian star and an upcoming English rock group. Whether or not the combination will be a success is yet to be seen. But if there's one musician who has the talent to tackle the challenge it is Rokia Traoré.
Concert date: Sunday 2nd May
Venue: Hall One, The Sage Gateshead
Tickets: £19.50
Rokia Traoré has come a long way and changed directions many times in her colourful career. Born into a long history of Malian musicians, the singer-songwriter and multi-instrumentalist has consistently delighted the public and critics alike for her rich and varying styles.
Releasing her first album Mouneïssa in 1997, it was musically traditional featuring such instruments as the ngoni and balafon. Three years later her album Wanita, entirely self-written, gained her worldwide attention before her 2003 album Bowmboï, featuring two tracks recorded with the Kronos Quartet, earned her the prestigious Critics Award in the BBC Radio 3 Awards for World Music 2004 as well as a spot on stage at WOMAD and a tour of North America. Her latest album Tchamantché, with which Traoré was awarded Winner of the Best Artist category in the inaugural Songlines Music Awards in 2009, features infectious afrobeat rhythms mixed with fresh guitar and vocal melodies.
Indeed, the pleasure she takes (and gives) from melding sounds from different regions and genres has given Traoré the title of Ethnomusicologist's Nightmare. As Ian Anderson wrote in fRoots, Traoré's music “is living proof of how, in the hands of an individual with real sensitivity, vision and naked talent, the result can be far greater than the sum of its parts.”
In this concert Traoré will continue this exploration of sounds by combining forces with Sweet Billy Pilgrim. Often compared to England's Radiohead and Icelandic post-rock group Sigur Rós, Sweet Billy Pilgrim comprises singer-songwriter Tim Elsenburg, bassist and bajo player Anthony Bishop and drummer Alistair Hamer. Nominated for the Mercury Music Prise in 2009, their latest album Twice Born Men has received critical acclaim on the English rock scene.
This concert is set up to be a fascinating encounter between a Malian star and an upcoming English rock group. Whether or not the combination will be a success is yet to be seen. But if there's one musician who has the talent to tackle the challenge it is Rokia Traoré.
Tango Siempre with special guests Victor Villena and Guillermo Rozenthuler
Previewed by Hedd Thomas
Concert date: Friday 7th May
Venue: Hall Two, The Sage Gateshead
Tickets: £10 - £14.50
Possibly the UK's leading Tango company, Tango Siempre will be presenting their final “Malandras del Tango” show in the Sage Gateshead this Friday evening. Featuring Gotan Project's virtuoso Bandoneon player Victor Villena as well as highly-rated vocalist Guillermo Rozenthuler as special guests, the Guardian writes that Tango Siempre combine “Passion, drama, melancholy beauty and sentimentality.” Just what you want on a Friday night!
Formed in 1998, Tango Siempre began primarily by covering Piazzolla classics. But while the septet are still undeniably influenced by that great composer they have, with their two most recent albums 'Only Human' and 'Tangents', created an identifiable sound of their own – a largely meditative, meandering one with moments of adventure and originality.
Guest staring will be vocalist Guillermo Rozenthuler. Born in Argentina, he moved to London, where he immersed himself in the melting pot of European, African and Asian influences that define the musical landscape of the city. Since then he has become a significant voice on the UK tango scene, working regularly with such bands as La Portatil, Mala Pinda and Los Mareados.
The show is likely to be stolen, however, by the evening's other special guest. Since winning first prize at Argentina's Cosquín Festival 1997, widely regarded as the most important folk festival in all Latin America, Victor Vellena has toured the world, wowing audiences with his bandoneon playing of the highest calibre. A previous member of multi-award-winning Gotan Project, this evening will provide a rare opportunity to listen to a true master in action.
Concert date: Friday 7th May
Venue: Hall Two, The Sage Gateshead
Tickets: £10 - £14.50
Possibly the UK's leading Tango company, Tango Siempre will be presenting their final “Malandras del Tango” show in the Sage Gateshead this Friday evening. Featuring Gotan Project's virtuoso Bandoneon player Victor Villena as well as highly-rated vocalist Guillermo Rozenthuler as special guests, the Guardian writes that Tango Siempre combine “Passion, drama, melancholy beauty and sentimentality.” Just what you want on a Friday night!
Formed in 1998, Tango Siempre began primarily by covering Piazzolla classics. But while the septet are still undeniably influenced by that great composer they have, with their two most recent albums 'Only Human' and 'Tangents', created an identifiable sound of their own – a largely meditative, meandering one with moments of adventure and originality.
Guest staring will be vocalist Guillermo Rozenthuler. Born in Argentina, he moved to London, where he immersed himself in the melting pot of European, African and Asian influences that define the musical landscape of the city. Since then he has become a significant voice on the UK tango scene, working regularly with such bands as La Portatil, Mala Pinda and Los Mareados.
The show is likely to be stolen, however, by the evening's other special guest. Since winning first prize at Argentina's Cosquín Festival 1997, widely regarded as the most important folk festival in all Latin America, Victor Vellena has toured the world, wowing audiences with his bandoneon playing of the highest calibre. A previous member of multi-award-winning Gotan Project, this evening will provide a rare opportunity to listen to a true master in action.
Friday, 23 April 2010
Love Music Hate Racism @ The Cluny, Tuesday 16th March
Reviewed by George Sorley
Nestled in the heart of the Ouseburn valley, the Cluny is recognised as one of the most important music venues in Newcastle and is the ideal place for music lovers to watch new talent and local heroes. The Love Music/Hate Racism gig organised by NSR’s very own Louise Morris fitted the bill perfectly.
Opening the bill were The Components led by energetic Camilla Summerskill who through everything into the performance. Indeed the rest of the band was all whirling guitars and fantastic noise, so much, so that the band ripped through their set at blistering speed much to the delight of the growing crowds. Behind Camilla’s dancing lay a tight organised band that enjoys the spotlight of the stage. Nile Amos’ guitar simmered along, Jim McCarthy’s bass created the pace and Ross Richardson’s drumming some how kept this bundle energy in time. The perfect opener to the gig.
Possibly the stars of the show were Kate Agerskow, fronted by Kate Edwards from local band Brilliant Minds. Stepping away from that band into this band may have been difficult but Kate took it in her stride and supplied the crowd with a magical set which saw her showcase her talent for guitar and keyboard and a nod to prog-rock group Supertramp as Kate performed a few fantastic keyboard solos. As for the rest of the band, a lush live cello performance from Miriam, Jonathon’s hypnotic drumming added to the amazing spectacle- although whether Tom’s guitar was plugged in or to high in the mix to be heard, it did add to the magic these four talented musicians created.
Gig closer, Liam Frost carried on the folk feeling with a set packed with songs from his latest album, We Ain’t Got No Money, Honey, But We Got Rain, and crowd favorites. Standing with just his guitar and harmonica strapped to him, he looked every inch the British singer-song writer and was a fitting end to a brilliant night of music and love.
Whether it was booking the venue, putting together the line up or street selling tickets, none of the magic that happened tonight could have happened with Louise Morris’s hard work- a roaring success all round.
Nestled in the heart of the Ouseburn valley, the Cluny is recognised as one of the most important music venues in Newcastle and is the ideal place for music lovers to watch new talent and local heroes. The Love Music/Hate Racism gig organised by NSR’s very own Louise Morris fitted the bill perfectly.
Opening the bill were The Components led by energetic Camilla Summerskill who through everything into the performance. Indeed the rest of the band was all whirling guitars and fantastic noise, so much, so that the band ripped through their set at blistering speed much to the delight of the growing crowds. Behind Camilla’s dancing lay a tight organised band that enjoys the spotlight of the stage. Nile Amos’ guitar simmered along, Jim McCarthy’s bass created the pace and Ross Richardson’s drumming some how kept this bundle energy in time. The perfect opener to the gig.
Possibly the stars of the show were Kate Agerskow, fronted by Kate Edwards from local band Brilliant Minds. Stepping away from that band into this band may have been difficult but Kate took it in her stride and supplied the crowd with a magical set which saw her showcase her talent for guitar and keyboard and a nod to prog-rock group Supertramp as Kate performed a few fantastic keyboard solos. As for the rest of the band, a lush live cello performance from Miriam, Jonathon’s hypnotic drumming added to the amazing spectacle- although whether Tom’s guitar was plugged in or to high in the mix to be heard, it did add to the magic these four talented musicians created.
Gig closer, Liam Frost carried on the folk feeling with a set packed with songs from his latest album, We Ain’t Got No Money, Honey, But We Got Rain, and crowd favorites. Standing with just his guitar and harmonica strapped to him, he looked every inch the British singer-song writer and was a fitting end to a brilliant night of music and love.
Whether it was booking the venue, putting together the line up or street selling tickets, none of the magic that happened tonight could have happened with Louise Morris’s hard work- a roaring success all round.
Thursday, 11 March 2010
Hannabiell & Midnight Blue @ The Basement, Newcastle Student Union, Newcastle upon Tyne
Afrobeat/Jazz fusion
19th February 2009
Reviewed by Hedd Thomas
Within weeks of the devastating earthquake striking Haiti there were various fundraising gigs. Some were rehearsed and well-organised, others less so. But if there was event that was sure to find the right balance of reflection and support for the relief effort with enjoyable, danceable music, this was it.
The evening started with a true West African flair courtesy of drumming by Tony Spencer and others, followed by a brief talk with musical examples from Haiti given by ethnomusicologist Nanette de Jong. Then came some more popular music with James Bligh performing on solo guitar, followed by an energetic set by The Din before a political flavour was injected into the evening's mix by the up-and-coming rapper and guitarist Greg Genre.
It was the main act, though, that everyone had come to see. Formed in 2003, Hannabiell & Midnight Blue have come a long way from their experimental beginnings in New Jersey, USA, growing into an ensemble capable of fusing different genres and cultures into one unique, uplifting style of music.
Nate Shaw on piano, John Pope on bass and George Magrath on drums all performed well, managing to successfully weaving their way through the different styles of playing and techniques the music demanded. Thuli Mazwi's voice added serenity to the combination, illustrated best in 'Ndlovukazi', sung in Zimbabwe's Ndebele language, while Yilis Suriel provided powerful, polished percussion. But it was Hannabiell Sauders who excelled. As well as singing and playing percussion, bass trombone and mbira, she masterfully led the group, keeping the rhythms tight and the music both hip and soulful.
A definite highlight of their set was 'With Us', a beautifully calming call-and-response for voices and mbiras. The lyrics included the repeated phrase “Peace be with us now,” serving as a poignant reminder as to why we were all there and where our entrance fee was headed. Another highlight was 'Tyler's Line', which gave the small but appreciative crowd the chance to hear not only each one on stage shine but also the bass trombone at its fullest and funkiest, bringing to a fitting end their impressive performance.
Rating: 4/5
19th February 2009
Reviewed by Hedd Thomas
Within weeks of the devastating earthquake striking Haiti there were various fundraising gigs. Some were rehearsed and well-organised, others less so. But if there was event that was sure to find the right balance of reflection and support for the relief effort with enjoyable, danceable music, this was it.
The evening started with a true West African flair courtesy of drumming by Tony Spencer and others, followed by a brief talk with musical examples from Haiti given by ethnomusicologist Nanette de Jong. Then came some more popular music with James Bligh performing on solo guitar, followed by an energetic set by The Din before a political flavour was injected into the evening's mix by the up-and-coming rapper and guitarist Greg Genre.
It was the main act, though, that everyone had come to see. Formed in 2003, Hannabiell & Midnight Blue have come a long way from their experimental beginnings in New Jersey, USA, growing into an ensemble capable of fusing different genres and cultures into one unique, uplifting style of music.
Nate Shaw on piano, John Pope on bass and George Magrath on drums all performed well, managing to successfully weaving their way through the different styles of playing and techniques the music demanded. Thuli Mazwi's voice added serenity to the combination, illustrated best in 'Ndlovukazi', sung in Zimbabwe's Ndebele language, while Yilis Suriel provided powerful, polished percussion. But it was Hannabiell Sauders who excelled. As well as singing and playing percussion, bass trombone and mbira, she masterfully led the group, keeping the rhythms tight and the music both hip and soulful.
A definite highlight of their set was 'With Us', a beautifully calming call-and-response for voices and mbiras. The lyrics included the repeated phrase “Peace be with us now,” serving as a poignant reminder as to why we were all there and where our entrance fee was headed. Another highlight was 'Tyler's Line', which gave the small but appreciative crowd the chance to hear not only each one on stage shine but also the bass trombone at its fullest and funkiest, bringing to a fitting end their impressive performance.
Rating: 4/5
Raga – Soul of Indian Music @ Neville Hall, Newcastle upon Tyne
Hindustani Classical Music
20th February 2009
Reviewed by Hedd Thomas
After a year in the making, the stage was set. With carpets laid ready to welcome the musicians in the mahogany-walled Neville Hall, the small but eager audience would have been forgiven for thinking they'd stepped back in time to when the world was bigger and India conjured images of mysticism.
Coming all the way from Germany for the performance was Ashraf Sharif Khan. Trained in the uniquely expressive Poonch Gharana tradition established by his grandfather, he has been giving concert performances on the sitar since the age of 10. Khan was joined by Dr Vijay Rajput, the acclaimed Hindustani vocalist and Guruji, as well as Shahbaz Hussain, hailed as “one of the most promising young artists of Tabla in the UK,” both based in Newcastle upon Tyne. Finally, the honour of playing tanpura was given to Newcastle University's David Clarke, a professor whose principal research area is the life and works of Michael Tippet but who has been a student of Hindustani classical music for over 20 years.
Starting the evening's programme was Raga Yaman, a meditative, romantic evening raga about enjoying the moment. With eyes shut and broad smiles by Khan and Rajput they each toyed with their melismas as the gentle free rhythms picked up pace. There were calls of “bravo” as Hussein entered with an array of rhythms on tabla, showing off the talent he has become known for. As the raga progressed further the interaction between the three masters intensified. Sudden vigour would come from the tablas, allowing the raga to flourish, before Khan's confident fingers darted up and down the neck of his sitar in bold scales. The audience was loving it and showed it with their first mid-performance applause soon followed by another and another. Rajput looked by now like a man possessed, eyes wide open and hands mimicking the contour of his powerful melismas, while Hussein's furious hands were unbelievably clear and precise up until the climactic end. It was obvious they knew on stage it had gone well, while audible remarks of “amazing” and “I've never seen anything like that before” came from all around the room.
The second half began with a solo raga for the sitar. With gentle tones that Khan let fade to nothingness, this most famous of Indian instruments sounded like it was wailing in this sorrowful, romantic piece. The later techniques used to play a high riff and melody simultaneously were breathtaking both to watch and hear, giving Rajput a hard act to follow. That he did, however, with his Spring Raga. Using his powerful voice, this accomplished singer expertly managed the intricate phrases and subtle microtones while also managing to get the story of the song across in its original ancient language.
They all ended with a melodious raga with lots of interplay between the instruments. Rajput maintained a clear timbre throughout his impressive range, Hussein's firm rhythms provided a great sense of direction and Khan lived up to his reputation as one of the most expressive sitarists around. The result was a standing ovation with cheers and smiles all round. In parts simple and sensual while in others fast-paced and virtuosic, this was an concert of intimate music in intimate surroundings. And while its complexity might have been beyond some in the audience its immersive ability was undeniable, providing for what was truly a magical evening.
Rating: 5/5
20th February 2009
Reviewed by Hedd Thomas
After a year in the making, the stage was set. With carpets laid ready to welcome the musicians in the mahogany-walled Neville Hall, the small but eager audience would have been forgiven for thinking they'd stepped back in time to when the world was bigger and India conjured images of mysticism.
Coming all the way from Germany for the performance was Ashraf Sharif Khan. Trained in the uniquely expressive Poonch Gharana tradition established by his grandfather, he has been giving concert performances on the sitar since the age of 10. Khan was joined by Dr Vijay Rajput, the acclaimed Hindustani vocalist and Guruji, as well as Shahbaz Hussain, hailed as “one of the most promising young artists of Tabla in the UK,” both based in Newcastle upon Tyne. Finally, the honour of playing tanpura was given to Newcastle University's David Clarke, a professor whose principal research area is the life and works of Michael Tippet but who has been a student of Hindustani classical music for over 20 years.
Starting the evening's programme was Raga Yaman, a meditative, romantic evening raga about enjoying the moment. With eyes shut and broad smiles by Khan and Rajput they each toyed with their melismas as the gentle free rhythms picked up pace. There were calls of “bravo” as Hussein entered with an array of rhythms on tabla, showing off the talent he has become known for. As the raga progressed further the interaction between the three masters intensified. Sudden vigour would come from the tablas, allowing the raga to flourish, before Khan's confident fingers darted up and down the neck of his sitar in bold scales. The audience was loving it and showed it with their first mid-performance applause soon followed by another and another. Rajput looked by now like a man possessed, eyes wide open and hands mimicking the contour of his powerful melismas, while Hussein's furious hands were unbelievably clear and precise up until the climactic end. It was obvious they knew on stage it had gone well, while audible remarks of “amazing” and “I've never seen anything like that before” came from all around the room.
The second half began with a solo raga for the sitar. With gentle tones that Khan let fade to nothingness, this most famous of Indian instruments sounded like it was wailing in this sorrowful, romantic piece. The later techniques used to play a high riff and melody simultaneously were breathtaking both to watch and hear, giving Rajput a hard act to follow. That he did, however, with his Spring Raga. Using his powerful voice, this accomplished singer expertly managed the intricate phrases and subtle microtones while also managing to get the story of the song across in its original ancient language.
They all ended with a melodious raga with lots of interplay between the instruments. Rajput maintained a clear timbre throughout his impressive range, Hussein's firm rhythms provided a great sense of direction and Khan lived up to his reputation as one of the most expressive sitarists around. The result was a standing ovation with cheers and smiles all round. In parts simple and sensual while in others fast-paced and virtuosic, this was an concert of intimate music in intimate surroundings. And while its complexity might have been beyond some in the audience its immersive ability was undeniable, providing for what was truly a magical evening.
Rating: 5/5
Tuesday, 2 March 2010
Andy Knox @ Head of Steam
Reviewed by Stephen Ferrell
The Head of Steam was packed as Andy Knox and his band took the stage. It had been relatively empty for the other bands at this latest to far north event. So it was clear who the majority of the crowd had come to see. The crowd were not left disappointed either as Andy proved himself to be a highly talented and entertaining front man. Well received by the crowd with frequent calls of Knoxy! coming from his supporters. The crowd were very much into this gig with crowd surfing even taking place as the bands set was coming to an end. As anyone who has been to a gig downstairs at the Head of Steam knows this is generally a small intimate venue to play. So to inspire crowd surfing and a rowdy reaction is quite an achievement. Backing singer/songwriter Andy were the exceptionally talented Stevie on bass, Franco on drums, Dom on keyboards and luke on fiddle. Andy Knox is certainly a performer I would recommend people look out for in future, so next time you see his name on a flyer get yourself down to the gig. More immediately then that though you can check out his tracks on I-Tunes.
The Head of Steam was packed as Andy Knox and his band took the stage. It had been relatively empty for the other bands at this latest to far north event. So it was clear who the majority of the crowd had come to see. The crowd were not left disappointed either as Andy proved himself to be a highly talented and entertaining front man. Well received by the crowd with frequent calls of Knoxy! coming from his supporters. The crowd were very much into this gig with crowd surfing even taking place as the bands set was coming to an end. As anyone who has been to a gig downstairs at the Head of Steam knows this is generally a small intimate venue to play. So to inspire crowd surfing and a rowdy reaction is quite an achievement. Backing singer/songwriter Andy were the exceptionally talented Stevie on bass, Franco on drums, Dom on keyboards and luke on fiddle. Andy Knox is certainly a performer I would recommend people look out for in future, so next time you see his name on a flyer get yourself down to the gig. More immediately then that though you can check out his tracks on I-Tunes.
Monday, 1 March 2010
Marina and the Diamonds @ Other Rooms
Reviewed by Adam Williams
Marina and the Diamonds arrived in Newcastle for an intimate gig at Digital’s Other Rooms. Hotly tipped as a star of 2010, her recent single Hollywood stormed into top 20 and she’s become something of a Radio 1 favourite in recent months, no doubt boosting her popularity.
Early in the gig she admits that only 12 people showed up to her gig in the city last year, this time the venue is packed full. Romping through her debut album, she demonstrated her cultured vocals and quirky lyrics to an adoring crowd, kicking off with one of her stronger album tracks, Girls.
Performances of I Am Not A Robot and Shampain also impressed while a break in the middle of the set gave her a chance to truly show her vocal talents with an acoustic performance of Numb. The backing band returned as she zipped through the rest of her EP, and left stage leaving the audience wanting more. Sadly there wasn’t even time for an encore, merely the impression that the venue owners wanted the crowd to move on as quickly as possible.
Her eccentricity is often reminiscent of Kate Nash but her more varied themes set her apart from the pack. Unlike Nash and the often compared Florence and the Machine she has the likeable personality to match. No doubt her next visit to the city will be in a much bigger venue.
4/5
Marina and the Diamonds arrived in Newcastle for an intimate gig at Digital’s Other Rooms. Hotly tipped as a star of 2010, her recent single Hollywood stormed into top 20 and she’s become something of a Radio 1 favourite in recent months, no doubt boosting her popularity.
Early in the gig she admits that only 12 people showed up to her gig in the city last year, this time the venue is packed full. Romping through her debut album, she demonstrated her cultured vocals and quirky lyrics to an adoring crowd, kicking off with one of her stronger album tracks, Girls.
Performances of I Am Not A Robot and Shampain also impressed while a break in the middle of the set gave her a chance to truly show her vocal talents with an acoustic performance of Numb. The backing band returned as she zipped through the rest of her EP, and left stage leaving the audience wanting more. Sadly there wasn’t even time for an encore, merely the impression that the venue owners wanted the crowd to move on as quickly as possible.
Her eccentricity is often reminiscent of Kate Nash but her more varied themes set her apart from the pack. Unlike Nash and the often compared Florence and the Machine she has the likeable personality to match. No doubt her next visit to the city will be in a much bigger venue.
4/5
Wednesday, 24 February 2010
God is an Astronaut @ Birmingham Academy
19th Feb 2010
Reviewed by Izaac Carlisle
First things first! I would like to use this platform to formally protest at Google Maps for putting the O2 Academy in the wrong place! Thanks to your incompetence I nearly missed the gig, spent an hour walking around the city and only getting to the academy by pure luck and some good navigating by local Brummies.
Anyway, back to the music. I arrive just as the support act Butterfly Explosion enter the fray using the same formulae that have helped so many bands gained mainstream stardom, the inclusion of the ‘single hot woman’ (although look what it did to the Zutons). Saying that though, they were really good. They formed beautiful melodies, adding vocals where required, and are worth a listen for fans of Sigur Ros.
God is an Astronaut are a beautiful band. I would like to put that on record, and through headphones their music at times can be awe-inspiring. However, I couldn’t help but be a little disappointed with them live. Yes, I will admit, at times they were great, but others I found them somewhat lazy (although that’s not the right word). So let me try and explain:
They are a three-piece instrumental ‘post rock’ band from Ireland, with two on guitar and one on drums but their music uses a great amount of other instruments to compliment their sound. Listening on CD you feel that these are genuine, however live they are pressing buttons on their keyboards like one of those ones you find at school; this doesn’t add to the atmosphere and the feel of the performance seeing somebody pressing these buttons that have been conveniently being placed in order.
Therefore, the performance felt recorded, almost like there was a CD being played. Saying that, I don’t want to suggest that it wasn’t a good performance generally, just not in the league of other bands in the genre live.
Overall, I found the conundrum where their music was brilliant but their live show was disappointing. My top tip for seeing this band, just bring eye patches!
Reviewed by Izaac Carlisle
First things first! I would like to use this platform to formally protest at Google Maps for putting the O2 Academy in the wrong place! Thanks to your incompetence I nearly missed the gig, spent an hour walking around the city and only getting to the academy by pure luck and some good navigating by local Brummies.
Anyway, back to the music. I arrive just as the support act Butterfly Explosion enter the fray using the same formulae that have helped so many bands gained mainstream stardom, the inclusion of the ‘single hot woman’ (although look what it did to the Zutons). Saying that though, they were really good. They formed beautiful melodies, adding vocals where required, and are worth a listen for fans of Sigur Ros.
God is an Astronaut are a beautiful band. I would like to put that on record, and through headphones their music at times can be awe-inspiring. However, I couldn’t help but be a little disappointed with them live. Yes, I will admit, at times they were great, but others I found them somewhat lazy (although that’s not the right word). So let me try and explain:
They are a three-piece instrumental ‘post rock’ band from Ireland, with two on guitar and one on drums but their music uses a great amount of other instruments to compliment their sound. Listening on CD you feel that these are genuine, however live they are pressing buttons on their keyboards like one of those ones you find at school; this doesn’t add to the atmosphere and the feel of the performance seeing somebody pressing these buttons that have been conveniently being placed in order.
Therefore, the performance felt recorded, almost like there was a CD being played. Saying that, I don’t want to suggest that it wasn’t a good performance generally, just not in the league of other bands in the genre live.
Overall, I found the conundrum where their music was brilliant but their live show was disappointing. My top tip for seeing this band, just bring eye patches!
Tuesday, 23 February 2010
Imogen Heap @ The Sage
15.2.2010
Reviewed by Paddy Gilhooley
An unexpected evening was in store for the 40 or so members of Imogen Heap’s previously sold out crowd who had remained in the Sage Gateshead’s Hall 2. Heap had made the announcement that she had been struck down by the dreaded lurgy ten minutes after the show was supposed to start - Most people left; taking a refund instead of the chance to see something special.
There was an air of uncertainty as opening act Back Ted ‘n’ Ted took to the stage but after a few songs we were starting to feel sorry for those who had left. Ryan AKA Back Ted ‘n’ Ted used an array of effects to form an incredible sonic wall which he danced and sang in front of (when he wasn’t invading the crowd!).
Next up was Tim Exile, wearing a jumper reminiscent of something Dave Benson Philips of Playdays fame might have worn. Another one man assault with an arsenal of homemade gadgets, Tim ran through a largely improvised set wielding a joystick which he used to manipulate his sounds. The barrier between crowd and the performers was well and truly down tonight as Tim called for a helper from the crowd to play some guitar which he then twisted into another wholly improvised piece.
Imogen Heap arrived, pyjama clad and wielding her blanket professing her apologies for her illness but insisting we would have an interesting evening. She started by playing some improvised instrumental piano pieces before taking questions from the crowd, including her father! This led to some interesting insights into her background in music and the writing/recording of her songs. Although Heap was noticeably suffering, she soldiered on through the night, unlike many other artists would have, and although she only sung few songs, the ones she managed sounded completely different to the album versions due to her strained voice which added an eerie sense of beauty.
All in all, an unexpected outcome to the night, but we all left the Sage with the feeling that we had witnessed an entirely unique gig which will never be repeated again. I’d leave you with a suggestion; if you are going to a gig where the band aren’t quite on form and are offered the choice of a refund, or staying around to see what might happen, take a chance.
Reviewed by Paddy Gilhooley
An unexpected evening was in store for the 40 or so members of Imogen Heap’s previously sold out crowd who had remained in the Sage Gateshead’s Hall 2. Heap had made the announcement that she had been struck down by the dreaded lurgy ten minutes after the show was supposed to start - Most people left; taking a refund instead of the chance to see something special.
There was an air of uncertainty as opening act Back Ted ‘n’ Ted took to the stage but after a few songs we were starting to feel sorry for those who had left. Ryan AKA Back Ted ‘n’ Ted used an array of effects to form an incredible sonic wall which he danced and sang in front of (when he wasn’t invading the crowd!).
Next up was Tim Exile, wearing a jumper reminiscent of something Dave Benson Philips of Playdays fame might have worn. Another one man assault with an arsenal of homemade gadgets, Tim ran through a largely improvised set wielding a joystick which he used to manipulate his sounds. The barrier between crowd and the performers was well and truly down tonight as Tim called for a helper from the crowd to play some guitar which he then twisted into another wholly improvised piece.
Imogen Heap arrived, pyjama clad and wielding her blanket professing her apologies for her illness but insisting we would have an interesting evening. She started by playing some improvised instrumental piano pieces before taking questions from the crowd, including her father! This led to some interesting insights into her background in music and the writing/recording of her songs. Although Heap was noticeably suffering, she soldiered on through the night, unlike many other artists would have, and although she only sung few songs, the ones she managed sounded completely different to the album versions due to her strained voice which added an eerie sense of beauty.
All in all, an unexpected outcome to the night, but we all left the Sage with the feeling that we had witnessed an entirely unique gig which will never be repeated again. I’d leave you with a suggestion; if you are going to a gig where the band aren’t quite on form and are offered the choice of a refund, or staying around to see what might happen, take a chance.
Friday, 5 February 2010
The Outside-In Festival @ The Sage (3)
Reviewed by Adam Williams
T4’s Outside-In festival brought together some of the biggest acts around for a day of music at the iconic Sage Gateshead. Using a similar formula to T4 On The Beach, each act performed 3 or 4 of their most popular songs which kept the festival moving at a fast pace but often left you a tad unsatisfied when a band had to leave the stage just as they were getting into their set.
The event began with the woeful N-Dubz wannabe Fugative but thankfully he wasn’t a sign of what was to come. I spent most of my time in Hall One where the more alternative acts were playing but still caught Pixie Lott and the Sugababes on the main stage; they wowed the young crowd with recent hits as I headed to watch the impressive Courteeners on the second stage. I’m not that big a fan of the Courteeners but they put in a strong performance and really won me over by the end of their brief set.
Local band Polarsets were the pick of the lesser known artists on the bill before the highlight of the event came as Danish pop band Alphabeat took to the stage. There was a huge influx of people from the main stage and they really brought the event to life with their popular hits The Spell and Fascination.
The fantastic Marina and the Diamonds followed, romping her way through her most well known material and the Automatic put in a solid show before headliners Lostprophets rounded off the evening with a slightly underwhelming performance.
At the same time the more chart friendly acts such as Taio Cruz, Example and N-Dubz rounded the evening off on the main stage. It was an enjoyable day which flew past, leaving everybody in the crowd wanting more.
T4’s Outside-In festival brought together some of the biggest acts around for a day of music at the iconic Sage Gateshead. Using a similar formula to T4 On The Beach, each act performed 3 or 4 of their most popular songs which kept the festival moving at a fast pace but often left you a tad unsatisfied when a band had to leave the stage just as they were getting into their set.
The event began with the woeful N-Dubz wannabe Fugative but thankfully he wasn’t a sign of what was to come. I spent most of my time in Hall One where the more alternative acts were playing but still caught Pixie Lott and the Sugababes on the main stage; they wowed the young crowd with recent hits as I headed to watch the impressive Courteeners on the second stage. I’m not that big a fan of the Courteeners but they put in a strong performance and really won me over by the end of their brief set.
Local band Polarsets were the pick of the lesser known artists on the bill before the highlight of the event came as Danish pop band Alphabeat took to the stage. There was a huge influx of people from the main stage and they really brought the event to life with their popular hits The Spell and Fascination.
The fantastic Marina and the Diamonds followed, romping her way through her most well known material and the Automatic put in a solid show before headliners Lostprophets rounded off the evening with a slightly underwhelming performance.
At the same time the more chart friendly acts such as Taio Cruz, Example and N-Dubz rounded the evening off on the main stage. It was an enjoyable day which flew past, leaving everybody in the crowd wanting more.
Tuesday, 2 February 2010
The Outside-In Festival @ The Sage (2)
Reviewed by Sophie Stewart
Having never been to the Sage before, I was first of all blown away by the incredible building that this festival was hosted in. There were two main stages, one was set up in the foyer, and one was the Gateshead College Stage. Pixie Lott was the first act we saw, and she was awesome. She had such a great presence on the stage as well, the crowd loved her. The Courteeners were pretty good, the highlight for me was 'Not Nineteen Forever' which again, the crowd loved. The Sugababes did a great performance, and were the only performers to have choreographed dance routines. They did their new tracks as well as some classics that everyone loves, like 'Get Sexy'. Girls Can't Catch and Scouting for Girls were pretty good, although my highlight was Alphabeat. They were better than I could have imagined, the lead singer's voice was incredible and I loved the lead male vocalist, who seemed to be having an awesome time with his tambourine...! Taio Cruz and N-Dubz, the headline acts, were both really good to watch and the crowd loved them, it was just a shame they didn't get to perform many songs because of time restraints. All in all it was an awesome evening in a great location with some really good music and all for a good cause, and I would definitely reccommend it to other people if it happens again next year!
Having never been to the Sage before, I was first of all blown away by the incredible building that this festival was hosted in. There were two main stages, one was set up in the foyer, and one was the Gateshead College Stage. Pixie Lott was the first act we saw, and she was awesome. She had such a great presence on the stage as well, the crowd loved her. The Courteeners were pretty good, the highlight for me was 'Not Nineteen Forever' which again, the crowd loved. The Sugababes did a great performance, and were the only performers to have choreographed dance routines. They did their new tracks as well as some classics that everyone loves, like 'Get Sexy'. Girls Can't Catch and Scouting for Girls were pretty good, although my highlight was Alphabeat. They were better than I could have imagined, the lead singer's voice was incredible and I loved the lead male vocalist, who seemed to be having an awesome time with his tambourine...! Taio Cruz and N-Dubz, the headline acts, were both really good to watch and the crowd loved them, it was just a shame they didn't get to perform many songs because of time restraints. All in all it was an awesome evening in a great location with some really good music and all for a good cause, and I would definitely reccommend it to other people if it happens again next year!
The Outside-In Festival @ The Sage
Reviewed by Clare Russell
The Outside-In Festival on 30th of January at the Sage, Gateshead proved to be a huge success. The venue itself was spectacular and performances by the Sugarbabes, Alphabeat, N-Dubz and Pixie Lott were equally as impressive. On entering the building and leaving the cold weather behind, the lively atmosphere inside was sure to get everyone in the mood to party!
Pixie Lott was the first artist to perform, impressively, her voice sounded better live and her single ‘Boys and Girls’ was certainly the audience’s favourite. Various artists performed throughout the night, with the option of going to two stages. On the main stage were the more popular artists, including; Sugababes, Girls Can’t Catch, Scouting for Girls, Taio Cruz and N-Dubz. Of course, as is expected at any festival, the drink was extremely over priced, however it didn’t stop the alcohol from flowing. I thoroughly enjoyed my evening and I would definitely recommend this festival as a cure for the winter blues!
The Outside-In Festival on 30th of January at the Sage, Gateshead proved to be a huge success. The venue itself was spectacular and performances by the Sugarbabes, Alphabeat, N-Dubz and Pixie Lott were equally as impressive. On entering the building and leaving the cold weather behind, the lively atmosphere inside was sure to get everyone in the mood to party!
Pixie Lott was the first artist to perform, impressively, her voice sounded better live and her single ‘Boys and Girls’ was certainly the audience’s favourite. Various artists performed throughout the night, with the option of going to two stages. On the main stage were the more popular artists, including; Sugababes, Girls Can’t Catch, Scouting for Girls, Taio Cruz and N-Dubz. Of course, as is expected at any festival, the drink was extremely over priced, however it didn’t stop the alcohol from flowing. I thoroughly enjoyed my evening and I would definitely recommend this festival as a cure for the winter blues!
Sunday, 31 January 2010
The Answer @ O2 Academy
Reviewed by Chris Render
As a big fan of Irish rockers The Answer, I jumped at the chance to see them live last Saturday at the 02 Academy, on the fourth night of their first headlining tour. After all, Everyday Demons, the band’s second album, is a strong contender for my album of the year. So any opportunity to see the band play one of Newcastle’s best venues was one I had no intentions of missing.
Much to my disappointment, I missed the support acts due to an interview with the band, but I am assured that both Toxic Federation and General Fiasco played brilliantly, and perfectly set the tone for what was to follow. So, with eager anticipation, I waited for The Answer.
The crowd went wild as the band reached the stage, and not without good reason. The Answer were phenomenal. Clearly a band comprised of dynamic and talented performers, the raw energy and stage presence exuded by the band, in particular vocalist Cormac Neeson, was indescribable. It was clear to anybody watching that The Answer displayed an amazing chemistry, four top quality musicians working in perfect synchronisation, and obviously having a great time doing it.
The set was astonishing, a mix of material from the new album and older fan favourites from the band’s debut, Rise. Fast paced crowd pleasers like Demon Eyes and Under the Sky were combined with more considered and thoughtful anthems like Why’d You Change Your Mind and Comfort Zone, but the band never lost its energy or dynamism. The Answer are a band that are at their finest live, and their finest is something well worth seeing.
The Answer have been described as keeping the classic rock genre alive, and from what I’ve seen, they don’t need much help. I can confidently say that this is the single best gig I’ve seen at the Academy in my long years of rock fandom.
5/5
As a big fan of Irish rockers The Answer, I jumped at the chance to see them live last Saturday at the 02 Academy, on the fourth night of their first headlining tour. After all, Everyday Demons, the band’s second album, is a strong contender for my album of the year. So any opportunity to see the band play one of Newcastle’s best venues was one I had no intentions of missing.
Much to my disappointment, I missed the support acts due to an interview with the band, but I am assured that both Toxic Federation and General Fiasco played brilliantly, and perfectly set the tone for what was to follow. So, with eager anticipation, I waited for The Answer.
The crowd went wild as the band reached the stage, and not without good reason. The Answer were phenomenal. Clearly a band comprised of dynamic and talented performers, the raw energy and stage presence exuded by the band, in particular vocalist Cormac Neeson, was indescribable. It was clear to anybody watching that The Answer displayed an amazing chemistry, four top quality musicians working in perfect synchronisation, and obviously having a great time doing it.
The set was astonishing, a mix of material from the new album and older fan favourites from the band’s debut, Rise. Fast paced crowd pleasers like Demon Eyes and Under the Sky were combined with more considered and thoughtful anthems like Why’d You Change Your Mind and Comfort Zone, but the band never lost its energy or dynamism. The Answer are a band that are at their finest live, and their finest is something well worth seeing.
The Answer have been described as keeping the classic rock genre alive, and from what I’ve seen, they don’t need much help. I can confidently say that this is the single best gig I’ve seen at the Academy in my long years of rock fandom.
5/5
Codeine Velvet Club @ the O2 Academy
Reviewed by Chris Render
I was never a huge fan of The Fratellis, so initially I approached Jon Lawler’s new project Codeine Velvet Club with some apprehension. However, after listening to their eponymous debut album, I realised my doubts had been misplaced, and was therefore rather excited at the chance to see them live. And they did not disappoint.
Lawler is a performer in every sense of the word, displaying notable musical talent and wielding considerable stage presence. Of course, it would be unfair not to mention Lawler’s collaborator Lou Hickey, whose dynamism and stage presence rivalled Lawler’s. Supported by a group of exceptionally talented musicians, these two went on to give a performance well worth seeing. Specific highlights of the night included Little Sister, single release track Vanity Kills and a phenomenal cover of The Rolling Stones’ Gimme Shelter.
All in all, Codeine Velvet Club delivered one of the most triumphantly entertaining shows I’ve ever seen. Their unique sound, coupled with the on stage dynamism of the lead performers, made for a great concert.
I was never a huge fan of The Fratellis, so initially I approached Jon Lawler’s new project Codeine Velvet Club with some apprehension. However, after listening to their eponymous debut album, I realised my doubts had been misplaced, and was therefore rather excited at the chance to see them live. And they did not disappoint.
Lawler is a performer in every sense of the word, displaying notable musical talent and wielding considerable stage presence. Of course, it would be unfair not to mention Lawler’s collaborator Lou Hickey, whose dynamism and stage presence rivalled Lawler’s. Supported by a group of exceptionally talented musicians, these two went on to give a performance well worth seeing. Specific highlights of the night included Little Sister, single release track Vanity Kills and a phenomenal cover of The Rolling Stones’ Gimme Shelter.
All in all, Codeine Velvet Club delivered one of the most triumphantly entertaining shows I’ve ever seen. Their unique sound, coupled with the on stage dynamism of the lead performers, made for a great concert.
Asobi Seksu @ the O2 Academy
Reviewed by Chris Render
Asobi Seksu provided me with a musical experience that I don’t expect to forget any time soon. The eclectic New York dream-pop extravaganza was unlike anything I had ever seen, a fantastic window into the shoegazing genre.
The dynamic performance of the band, most notably lead vocalist Yuki Chikudate, only acted to further improve the experience, adding to the talented and innovative music of the band. As an introduction to a genre I had very little experience with, they were more than sufficient. As a musical experience, they were sublime. Asobi Seksu were, essentially, indescribable, other than to say they were brilliant.
If you’re a fan of shoegaze, you can’t go wrong with Asobi Seksu. If you aren’t, check them out. I expect you soon will be. After all, it’s not often a support act manages to upstage performers like White Lies, but Asobi Seksu were by a substantial margin the best band I saw that night.
Asobi Seksu provided me with a musical experience that I don’t expect to forget any time soon. The eclectic New York dream-pop extravaganza was unlike anything I had ever seen, a fantastic window into the shoegazing genre.
The dynamic performance of the band, most notably lead vocalist Yuki Chikudate, only acted to further improve the experience, adding to the talented and innovative music of the band. As an introduction to a genre I had very little experience with, they were more than sufficient. As a musical experience, they were sublime. Asobi Seksu were, essentially, indescribable, other than to say they were brilliant.
If you’re a fan of shoegaze, you can’t go wrong with Asobi Seksu. If you aren’t, check them out. I expect you soon will be. After all, it’s not often a support act manages to upstage performers like White Lies, but Asobi Seksu were by a substantial margin the best band I saw that night.
Remedy, Slaves to Gravity and The Butterfly Effect @ O2 Academy
Three bands in one night, and only one I’d heard much from in advance. And they were up first. Newcastle based heavy metal four-piece Remedy were, in my opinion, the highlight of the night. Dynamic, entertaining and clearly enjoying themselves, these talented musicians provided a great start to the night, and vocals of Jenn Cherene provided a refreshing female element to a genre more commonly male dominated. If you like heavy metal, Remedy are definitely a band to keep an eye on.
They were followed by Slaves to Gravity, a band I’d heard less from, but was still eager to see. And not without reason. This hard rock band from London were entertaining and skilled, displaying extensive musical talent. The thirty minute set, comprised mainly of songs from the upcoming album UNDERWATEROUTERSPACE (scheduled for release in March of this year, and something I’d advise you check out), was a catchy, cool exhibition of the band’s ability. It wasn’t difficult to understand why they were named Kerrang!’s “Best British Newcomer” in 2008.
Ironically enough, the low point of the night (although by a fairly narrow margin) came from the headline act, Australian art rock group The Butterfly Effect. Although the band played more than competently, they seemed to lack the presence of the other two groups, and their music struck me as somewhat generic. However, that is not to say that The Butterfly Effect lacked any particular talent, far from it in fact. They simply couldn’t live up to the bands that had opened for them. However, on the whole, this proved to be a great night.
They were followed by Slaves to Gravity, a band I’d heard less from, but was still eager to see. And not without reason. This hard rock band from London were entertaining and skilled, displaying extensive musical talent. The thirty minute set, comprised mainly of songs from the upcoming album UNDERWATEROUTERSPACE (scheduled for release in March of this year, and something I’d advise you check out), was a catchy, cool exhibition of the band’s ability. It wasn’t difficult to understand why they were named Kerrang!’s “Best British Newcomer” in 2008.
Ironically enough, the low point of the night (although by a fairly narrow margin) came from the headline act, Australian art rock group The Butterfly Effect. Although the band played more than competently, they seemed to lack the presence of the other two groups, and their music struck me as somewhat generic. However, that is not to say that The Butterfly Effect lacked any particular talent, far from it in fact. They simply couldn’t live up to the bands that had opened for them. However, on the whole, this proved to be a great night.
Breed 77 @ the O2 Academy
Reviewed by Chris Render
I arrived at the O2 Academy a little late for this gig, and so much to my regret, I missed the first support, so you’ll have to make your own judgements on Symphony Cult. The second support, however, a band called Our Malevolent Tyranny, were more than sufficient, the perfect opener for Breed 77.
Now this wasn’t the first time I’d seen the Gibraltarian metal group in action, so I had some idea of what I was in for, but that did nothing to detract from the performance. Experienced and accomplished musicians all, Breed 77’s unique blend of flamenco and heavy metal must be heard to be believed. And it is definitely worth hearing.
And seeing, for that matter. Paul Isola is a fantastic performer and a talented musician, charismatic and dynamic. Of course, the same can be said for the rest of the band, evidenced by a memorable drum solo by the band’s newest member, Mexican Oscar Preciado Zamora.
Throughout an expansive set covering older material and plenty of tracks from the new album Insects, Breed 77 provided an extremely entertaining night, and I eagerly await their return to the city.
I arrived at the O2 Academy a little late for this gig, and so much to my regret, I missed the first support, so you’ll have to make your own judgements on Symphony Cult. The second support, however, a band called Our Malevolent Tyranny, were more than sufficient, the perfect opener for Breed 77.
Now this wasn’t the first time I’d seen the Gibraltarian metal group in action, so I had some idea of what I was in for, but that did nothing to detract from the performance. Experienced and accomplished musicians all, Breed 77’s unique blend of flamenco and heavy metal must be heard to be believed. And it is definitely worth hearing.
And seeing, for that matter. Paul Isola is a fantastic performer and a talented musician, charismatic and dynamic. Of course, the same can be said for the rest of the band, evidenced by a memorable drum solo by the band’s newest member, Mexican Oscar Preciado Zamora.
Throughout an expansive set covering older material and plenty of tracks from the new album Insects, Breed 77 provided an extremely entertaining night, and I eagerly await their return to the city.
A Place To Bury Strangers @ The Other Rooms
Reviewed by Chris Render
I hadn’t really heard much from this band before the night, but heralded as “the loudest band in New York”, A Place to Bury Strangers were always going to be something special. However, I had no idea quite what I was in for as the NY trio took to the stage in Digital’s Other Rooms on the 13th of November this year. They were phenomenal.
The set, although relatively short, was one of the most impassioned I have ever seen, a factor emphasised by the nature of the venue. A Place To Bury Strangers were perfectly suited to The Other Rooms, the bands characteristic intensity magnified by the intimate venue, leading to one of the most dynamic performances I’ve ever seen. The image of guitarist and singer Oliver Ackermann violently de-stringing a guitar mid-song will stay with me to the grave
The charismatic Ackermann is one hell of a performer, not just in terms of his notable musical talent, but also in terms of his commanding stage presence. He was one of the most dynamic stage performers I’ve ever seen, constantly in motion, injecting each song with intense passion. Adding to the band’s already formidable presence were drummer Jay Space and bassist Jono MOFO, one of the most talented rhythm sections I’ve ever encountered.
On the whole, the set was concise, brutal and amazing. Not a moment was wasted, the entire performance being imbued with the band’s trademark intensity and passion. I was left breathless and desperate for more. A Place To Bury Strangers were, in many ways, the musical equivalent of a rollercoaster: fast, intense, brutal and thrilling. One of the best performances I’ve ever seen.
I hadn’t really heard much from this band before the night, but heralded as “the loudest band in New York”, A Place to Bury Strangers were always going to be something special. However, I had no idea quite what I was in for as the NY trio took to the stage in Digital’s Other Rooms on the 13th of November this year. They were phenomenal.
The set, although relatively short, was one of the most impassioned I have ever seen, a factor emphasised by the nature of the venue. A Place To Bury Strangers were perfectly suited to The Other Rooms, the bands characteristic intensity magnified by the intimate venue, leading to one of the most dynamic performances I’ve ever seen. The image of guitarist and singer Oliver Ackermann violently de-stringing a guitar mid-song will stay with me to the grave
The charismatic Ackermann is one hell of a performer, not just in terms of his notable musical talent, but also in terms of his commanding stage presence. He was one of the most dynamic stage performers I’ve ever seen, constantly in motion, injecting each song with intense passion. Adding to the band’s already formidable presence were drummer Jay Space and bassist Jono MOFO, one of the most talented rhythm sections I’ve ever encountered.
On the whole, the set was concise, brutal and amazing. Not a moment was wasted, the entire performance being imbued with the band’s trademark intensity and passion. I was left breathless and desperate for more. A Place To Bury Strangers were, in many ways, the musical equivalent of a rollercoaster: fast, intense, brutal and thrilling. One of the best performances I’ve ever seen.
Tuesday, 26 January 2010
Exit Ten @ Eddie's, Birmingham
Reviewed by Izaac Carlisle
Exit Ten are from Reading. That is as much as I knew as I trundled through the rainy streets of Birmingham to Eddie’s Rock Bar (think Trillians but without a lick of paint. Or paint for that matter). A friend had recommended them; however their choice of support bands didn’t really fit in with the headline act.
Just for those not that filled in about these things, Exit Ten are essentially a 5 piece progressive metal band; imagine metal rifts but mashed with a vague representation of the vocalist from Alexisonfire. They liked to occasionally add a little bit of ‘scream’. For this genre, it would be rude not too.
Anyway, their support decided to go one further with the Alexis comparison and essentially copy them. With the pretentiously sounding names ‘Dividing the Line’ and ‘Casino Brawl’, the latter call the North East home and receiving the customary Geordie slang shouted at them, both had an air of similarity. Both had five members, with the same instruments, both had a singer, both…well had somebody that doesn’t sing and both, well sounded the same. Which is unfortunate because they weren’t that bad, Casino Brawl especially had a few nice numbers. It’s just that you can’t help thinking in your head ‘we’ve seen this all before’. Which I had. About half an hour ago.
Anyway, Exit Ten came on to the squeal of their teenage fan club and to congratulate my friend for the band choice, sounded actually quite good. They were quite tight playing, but their singer (Ryan) after suggesting his voice was a little rough, sang well. Technically alive came across really well, and overall it was a good performance. The venue didn’t really help, feeling more like a pool hall than a venue but overall a strong performance that leaves me suggesting that you go out and purchase their album or at least Myspace them at: http://www.myspace.com/exitten
Exit Ten are from Reading. That is as much as I knew as I trundled through the rainy streets of Birmingham to Eddie’s Rock Bar (think Trillians but without a lick of paint. Or paint for that matter). A friend had recommended them; however their choice of support bands didn’t really fit in with the headline act.
Just for those not that filled in about these things, Exit Ten are essentially a 5 piece progressive metal band; imagine metal rifts but mashed with a vague representation of the vocalist from Alexisonfire. They liked to occasionally add a little bit of ‘scream’. For this genre, it would be rude not too.
Anyway, their support decided to go one further with the Alexis comparison and essentially copy them. With the pretentiously sounding names ‘Dividing the Line’ and ‘Casino Brawl’, the latter call the North East home and receiving the customary Geordie slang shouted at them, both had an air of similarity. Both had five members, with the same instruments, both had a singer, both…well had somebody that doesn’t sing and both, well sounded the same. Which is unfortunate because they weren’t that bad, Casino Brawl especially had a few nice numbers. It’s just that you can’t help thinking in your head ‘we’ve seen this all before’. Which I had. About half an hour ago.
Anyway, Exit Ten came on to the squeal of their teenage fan club and to congratulate my friend for the band choice, sounded actually quite good. They were quite tight playing, but their singer (Ryan) after suggesting his voice was a little rough, sang well. Technically alive came across really well, and overall it was a good performance. The venue didn’t really help, feeling more like a pool hall than a venue but overall a strong performance that leaves me suggesting that you go out and purchase their album or at least Myspace them at: http://www.myspace.com/exitten
Mausi – Formerly: Paper Planes
Reviewed by Scott McLoughlin
Mausi are a quintessential Indie, University band experience. The Band however has ruined my flattering and ‘Punny’ review by changing their name (apparently for ‘legal reasons’). Formerly Paper Planes, they are now ‘Mausi’. Nevertheless due to my need to use aviation based metaphors, and as I haven’t seen them under their new name this review will still put across their high-flying nature. Though ‘Mausi’s can’t fly, unless you strap them to seagulls. I digress.
Despite only being a relatively new band they have a good range of original material and covers. Brother and sister (Thomas and Daisy) alternate between lead vox. Both have unique sing styles. As a consequence Mausi draw from a huge range of musical styles, and frequently delve into many genres. The truly take songs and make them their own. Set highlights include: the Planes own delightful compositions ‘Should I’ (enjoyable in both its acoustic and amplified forms), ‘What You Did Boy’, and a cover of Corrine Bailey Rae’s ‘put your records on’, a song that suits Daisy’s voice to a T. Daisy’s voice seems the kind that probably wouldn’t be out of place in a ‘50s speak easy. It has an effortlessly rich tone. Daisy’s harmonies also give Thomas’s ‘Indie style’ vocals a level of sophistication not usually encountered in grass roots music. Furthermore Mausi do not restrict themselves in the presentation of their live performance. [Cue ‘Plane’ based analogies] Mausi seem to ride thermals just as easily as an acoustic three piece or an electrified four piece. Ben and Benji (the bands lead guitarist and drummer) make Mausi’s decibel level comparable to that of a Boeing 747. The band might only be taxi-ing the runway at the moment, but they look destined to take of soon: unlike my metaphors. From now on I’ll be quiet as a ‘Mausi’…lame.
4/5
http://www.myspace.com/mausimusic
Mausi are a quintessential Indie, University band experience. The Band however has ruined my flattering and ‘Punny’ review by changing their name (apparently for ‘legal reasons’). Formerly Paper Planes, they are now ‘Mausi’. Nevertheless due to my need to use aviation based metaphors, and as I haven’t seen them under their new name this review will still put across their high-flying nature. Though ‘Mausi’s can’t fly, unless you strap them to seagulls. I digress.
Despite only being a relatively new band they have a good range of original material and covers. Brother and sister (Thomas and Daisy) alternate between lead vox. Both have unique sing styles. As a consequence Mausi draw from a huge range of musical styles, and frequently delve into many genres. The truly take songs and make them their own. Set highlights include: the Planes own delightful compositions ‘Should I’ (enjoyable in both its acoustic and amplified forms), ‘What You Did Boy’, and a cover of Corrine Bailey Rae’s ‘put your records on’, a song that suits Daisy’s voice to a T. Daisy’s voice seems the kind that probably wouldn’t be out of place in a ‘50s speak easy. It has an effortlessly rich tone. Daisy’s harmonies also give Thomas’s ‘Indie style’ vocals a level of sophistication not usually encountered in grass roots music. Furthermore Mausi do not restrict themselves in the presentation of their live performance. [Cue ‘Plane’ based analogies] Mausi seem to ride thermals just as easily as an acoustic three piece or an electrified four piece. Ben and Benji (the bands lead guitarist and drummer) make Mausi’s decibel level comparable to that of a Boeing 747. The band might only be taxi-ing the runway at the moment, but they look destined to take of soon: unlike my metaphors. From now on I’ll be quiet as a ‘Mausi’…lame.
4/5
http://www.myspace.com/mausimusic
Saturday, 16 January 2010
DJ Yoda @ Academy 2
Reviewed by Matt Hudspith
After seeing Dj Yoda perform before at Bestival, I was extremely fortunate and excited to see him perform again. This time however, it was a bit different.. It was 9 o'clock on a wednesday evening at an intimate Academy 2 in Newcastle. The brilliant thing about seeing Dj Yoda play is that you have no idea what to expect, whether its just a dj set or an Audio-Visual set, he is sure to have you moving, laughing and talking within the first 5 minutes. He is possibly one of the biggest players in the audio-visual scene right now, if no the pioneer. He is amazing with just two turntables, but throw in some more and a DVD mixer, and you are in shock with what he is able to achieve. Songs move seamlessly into one another and the visual just makes the experience that much better.
The brilliant thing about this performance was how unique it was. Yoda threw in some video clips of Alan Shearer playing for Newcastle Utd, which had the crowd going bonkers, and a few photos he had taken of the university campus which got the students among us a bit hyped, not to mention all of this being backed up by the Byker Grove theme tune. This was one moment that only those in the club would experience which made that night just soo much better. I would strongly recommend anyone to go and see him play because not only does he put on an amazing show, but he has got raw talent, and If you don't understand the term 'going to see a dj', then look no further than this one.
After seeing Dj Yoda perform before at Bestival, I was extremely fortunate and excited to see him perform again. This time however, it was a bit different.. It was 9 o'clock on a wednesday evening at an intimate Academy 2 in Newcastle. The brilliant thing about seeing Dj Yoda play is that you have no idea what to expect, whether its just a dj set or an Audio-Visual set, he is sure to have you moving, laughing and talking within the first 5 minutes. He is possibly one of the biggest players in the audio-visual scene right now, if no the pioneer. He is amazing with just two turntables, but throw in some more and a DVD mixer, and you are in shock with what he is able to achieve. Songs move seamlessly into one another and the visual just makes the experience that much better.
The brilliant thing about this performance was how unique it was. Yoda threw in some video clips of Alan Shearer playing for Newcastle Utd, which had the crowd going bonkers, and a few photos he had taken of the university campus which got the students among us a bit hyped, not to mention all of this being backed up by the Byker Grove theme tune. This was one moment that only those in the club would experience which made that night just soo much better. I would strongly recommend anyone to go and see him play because not only does he put on an amazing show, but he has got raw talent, and If you don't understand the term 'going to see a dj', then look no further than this one.
Chinese Sate Circus @ The Sage, Gateshead
Reviewed by Matt Hudspith
Last night was the first time I had ever been to a circus, and although The Chinese State Circus is not your typical circus, it still had me glued to my seat at The Sage in Gateshead. We were treated to watch the story of 'Mulan' unfold right before our eyes and although this was a performance geared towards children the majority of the crowd was made up of adults, all extremely impressed.
The first half contained The Shaolin Warriors who amazed the audience with their sword trickery and martial art skills, which involved twisting their bodies into shapes I thought weren't humanly possible. I was extremely impressed by the strength, balance, and determination of the men who were involved in this part of the show. After the Shaolin Warriors came the Lantern throwers who balanced 15ft lanterns on just one arm and would seamlessly complete forward rolls while still holding them. The Lantern throwers finished off their performance with a routine that involved throwing the lanterns to one another in a straight line without looking, this part of the performance was extremely well received by the crowd.
The final performance of the first half was by the female Unicyclists. This was arguably one of the best performances of the show. The girls would ride around on unicycles, balancing bowls on top of their heads then flip other bowls onto the one on their heads using their feet, it was truly incredible, all that I can say is that you need to see it to believe it! This was a fantastic end to the first half.
After the interval we were treated to more acrobatics. We saw men flying through hoops doing many a front flip and still managing to land on their feet as well as the second installment from the Shaolin Warriors. However in my eyes, the best part of the show came immediately after the interval when a group of gymnasts scaled two large vertical poles and flipped, slid and swung round them without breaking a sweat. This performance was simply fantastic.
I would highly recommend seeing the Chinese State Circus if given the chance as the words put before you do not do it justice, it really is something you have to see and experience to believe it.
Last night was the first time I had ever been to a circus, and although The Chinese State Circus is not your typical circus, it still had me glued to my seat at The Sage in Gateshead. We were treated to watch the story of 'Mulan' unfold right before our eyes and although this was a performance geared towards children the majority of the crowd was made up of adults, all extremely impressed.
The first half contained The Shaolin Warriors who amazed the audience with their sword trickery and martial art skills, which involved twisting their bodies into shapes I thought weren't humanly possible. I was extremely impressed by the strength, balance, and determination of the men who were involved in this part of the show. After the Shaolin Warriors came the Lantern throwers who balanced 15ft lanterns on just one arm and would seamlessly complete forward rolls while still holding them. The Lantern throwers finished off their performance with a routine that involved throwing the lanterns to one another in a straight line without looking, this part of the performance was extremely well received by the crowd.
The final performance of the first half was by the female Unicyclists. This was arguably one of the best performances of the show. The girls would ride around on unicycles, balancing bowls on top of their heads then flip other bowls onto the one on their heads using their feet, it was truly incredible, all that I can say is that you need to see it to believe it! This was a fantastic end to the first half.
After the interval we were treated to more acrobatics. We saw men flying through hoops doing many a front flip and still managing to land on their feet as well as the second installment from the Shaolin Warriors. However in my eyes, the best part of the show came immediately after the interval when a group of gymnasts scaled two large vertical poles and flipped, slid and swung round them without breaking a sweat. This performance was simply fantastic.
I would highly recommend seeing the Chinese State Circus if given the chance as the words put before you do not do it justice, it really is something you have to see and experience to believe it.
Good Shoes @ The Other Rooms, Newcastle
Reviewed by Christian Allen
It’s been over two years since Good Shoes released their debut album, Think before You Speak, and 3 years since they’re early demos dominated British music website discussion boards. For a band who have been extremely quiet throughout most of 2008 and 2009 tonight’s turn out is testament to their sound, especially in the stronghold for lad-rock that is Newcastle-Upon-Tyne. This considered the current tour is quite a change for a band that, in 2007, headlined the 2,000 capacity Astoria. It’s an opportunity for the band to almost start from scratch and play those kind of back of pub venues full of sweaty teens that their music led’s itself to.
Lead singer Rhys Jones fully embraces the intimate setting throughout the set, warning me in the interview prior to the gig that he’s prepared to join the crowd as many times as it takes to get them animated and rowdy. Despite the stagnant crowd’s best efforts the band remains upbeat and uses the opportunity to play a selection of tracks off the impending 2nd album ‘No Hope, No Future’. It’s difficult to judge them after one listen, and with the new wave of tracks ‘The Way My Heart Beats’ already seems like a classic. ‘Under Control’ has quickly found itself a crowd favourite and a couple of new tracks show the band perhaps going for a more angular, distorted sound with this follow up.
In with the new tracks were the expected, established hits from the debut album, Ice Age, Small Town Girl and Morden all sounding sharper and speeder than ever. An exuberant, enthusiastic gig marks the return of Good Shoes and on tonight’s evidence the band’s brand of jaunty indie pop look set to find it’s home once again on national radio playlists and in larger venues across the U.K.
It’s been over two years since Good Shoes released their debut album, Think before You Speak, and 3 years since they’re early demos dominated British music website discussion boards. For a band who have been extremely quiet throughout most of 2008 and 2009 tonight’s turn out is testament to their sound, especially in the stronghold for lad-rock that is Newcastle-Upon-Tyne. This considered the current tour is quite a change for a band that, in 2007, headlined the 2,000 capacity Astoria. It’s an opportunity for the band to almost start from scratch and play those kind of back of pub venues full of sweaty teens that their music led’s itself to.
Lead singer Rhys Jones fully embraces the intimate setting throughout the set, warning me in the interview prior to the gig that he’s prepared to join the crowd as many times as it takes to get them animated and rowdy. Despite the stagnant crowd’s best efforts the band remains upbeat and uses the opportunity to play a selection of tracks off the impending 2nd album ‘No Hope, No Future’. It’s difficult to judge them after one listen, and with the new wave of tracks ‘The Way My Heart Beats’ already seems like a classic. ‘Under Control’ has quickly found itself a crowd favourite and a couple of new tracks show the band perhaps going for a more angular, distorted sound with this follow up.
In with the new tracks were the expected, established hits from the debut album, Ice Age, Small Town Girl and Morden all sounding sharper and speeder than ever. An exuberant, enthusiastic gig marks the return of Good Shoes and on tonight’s evidence the band’s brand of jaunty indie pop look set to find it’s home once again on national radio playlists and in larger venues across the U.K.
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