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
Showing posts with label The Joy Formidable. Show all posts
Showing posts with label The Joy Formidable. Show all posts
Monday, 1 November 2010
Tuesday, 10 November 2009
Passion Pit with Max Tundra / The Joy Formidable at Northumbria University
Reviewed by Scott McLoughlin
I could talk about Passion Pit for hours. Oh wait, no I can’t; that was definitely a lie. Musically Passion Pit were impeccable, bar the technical failure resulting in no music for 20 minutes mid set. Oh, and the fact they were dependent on a backing track on a laptop. Oh yeah! I nearly forgot how intensely boring they were on stage. That aside they were very very good. It might appear a contradiction, but I would definitely watch them again, given the opportunity. The singer, what’s his face? I can’t say his name let alone spell it. Anyway, he was very good also, in a high pitched sort of way. In fact they were so good it was like watching a rehearsal; one in which the crowd was still a hypothetical situation yet to be encountered. In the mean time, the crowd still being a fiction, the Passion Pit boys concentrated on getting the music as close to a complete note perfect recital of their album as possible. It is fair to say they lacked stage presence and a quality that would let me believe their performance was all live and happening, and that I was one of the lucky few in Northumbria getting to witness it all! Like poetry read in a monotone voice, passion pit came, played, and left with no personal investment beyond that put into writing the music in the first place. A direct contradiction to ‘the Joy Formidable’: who delivered yet another powerful performance. They also further reaffirmed their position as a live act to be watched out for; hopefully they will figure out how to capture their live quality on record. I know! Let us as a society with a vested interest in getting the most out of bands (and pushing the boundaries of new music), lock Passion Pit and the Joy Formidable in the same room until they take for themselves respectively the best traits of the other i.e. the ability to record and perform! Hmmm…
Now! MAX TUNDRA! I could literally try and describe him forever. The coolest performer I’ve seen in yonks. He may in fact be the least cool person in the world, but the fact he doesn’t care and does his own thing makes him pretty darn cool in my humble opinion. He’s like your Dad dancing to happy hardcore whilst absolutely off his face on acid (or something equally hallucinogenic) but on a stage! In front of all your friends, and he’s embarrassing you, but somehow you conclude you still love him, and then you realise that everybody else in the crowd thinks that watching the mad man dance it is nothing short of the best thing ever! Finally, you realise he’s actually quite good at playing music, all be it weird, and not linear or simple music. His songs are predominantly electro and synth based. He sort of sounds like a bad scat singer’s impression of music, but twisted so you’d expect to hear at cabaret night on a cruise linear; but played on a synthesiser, to dance beats. That is actually as close as I can get to describing him without sounding like a nut job. He simply is crazy, hard to listen to, but somehow brilliant. You know you are in for a good show if one man is playing dance remixes of the sound of music with a variety of crazy instruments that look like they’ve come from a 1960’s toyshop. Youtube this guy’s live performances, for laughs if you want, but you might like myself discover something you like.
3.5 / 5
I could talk about Passion Pit for hours. Oh wait, no I can’t; that was definitely a lie. Musically Passion Pit were impeccable, bar the technical failure resulting in no music for 20 minutes mid set. Oh, and the fact they were dependent on a backing track on a laptop. Oh yeah! I nearly forgot how intensely boring they were on stage. That aside they were very very good. It might appear a contradiction, but I would definitely watch them again, given the opportunity. The singer, what’s his face? I can’t say his name let alone spell it. Anyway, he was very good also, in a high pitched sort of way. In fact they were so good it was like watching a rehearsal; one in which the crowd was still a hypothetical situation yet to be encountered. In the mean time, the crowd still being a fiction, the Passion Pit boys concentrated on getting the music as close to a complete note perfect recital of their album as possible. It is fair to say they lacked stage presence and a quality that would let me believe their performance was all live and happening, and that I was one of the lucky few in Northumbria getting to witness it all! Like poetry read in a monotone voice, passion pit came, played, and left with no personal investment beyond that put into writing the music in the first place. A direct contradiction to ‘the Joy Formidable’: who delivered yet another powerful performance. They also further reaffirmed their position as a live act to be watched out for; hopefully they will figure out how to capture their live quality on record. I know! Let us as a society with a vested interest in getting the most out of bands (and pushing the boundaries of new music), lock Passion Pit and the Joy Formidable in the same room until they take for themselves respectively the best traits of the other i.e. the ability to record and perform! Hmmm…
Now! MAX TUNDRA! I could literally try and describe him forever. The coolest performer I’ve seen in yonks. He may in fact be the least cool person in the world, but the fact he doesn’t care and does his own thing makes him pretty darn cool in my humble opinion. He’s like your Dad dancing to happy hardcore whilst absolutely off his face on acid (or something equally hallucinogenic) but on a stage! In front of all your friends, and he’s embarrassing you, but somehow you conclude you still love him, and then you realise that everybody else in the crowd thinks that watching the mad man dance it is nothing short of the best thing ever! Finally, you realise he’s actually quite good at playing music, all be it weird, and not linear or simple music. His songs are predominantly electro and synth based. He sort of sounds like a bad scat singer’s impression of music, but twisted so you’d expect to hear at cabaret night on a cruise linear; but played on a synthesiser, to dance beats. That is actually as close as I can get to describing him without sounding like a nut job. He simply is crazy, hard to listen to, but somehow brilliant. You know you are in for a good show if one man is playing dance remixes of the sound of music with a variety of crazy instruments that look like they’ve come from a 1960’s toyshop. Youtube this guy’s live performances, for laughs if you want, but you might like myself discover something you like.
3.5 / 5
Thursday, 22 October 2009
Editors (with the Joy Formidable)
Editors (w/ the Joy Formidable)
Reviewed by Scott McLoughlin
The Editor’s Newcastle gig was characterised by one of the most surreal crowd atmospheres I have ever experienced. The Joy Formidable began the evening’s entertainments with their hybrid ‘Welsh countryside meets industrial London sound’. They make a huge noise for just a trio. Whilst watching them it became clear that their live performances completely eclipsed and surpass the quality of their recorded material. Recordings which I now feel do them an injustice. Highlights include the strangely familiar sounding track ‘Austere’. As thoroughly enjoyable the Joy Formidable were; I was some what distracted by the man stood directly in front of me. He smelt strangely of peanuts, adding ‘smell’ to the audible sensory stimulus I was already experiencing. Anyway, I was then privileged enough to meet the band after their performance in their homely tour van. They are truly genuine people, filled with a desire to make good music whilst being true to their own definition of what good music is. There mentality was refreshingly non-conformist for a decent band in a chart orientated world; having said this however, I would say they do sound a lot like many other indie acts. I recommend you give them a try at least. I then rejoined the crowd just as Editors took to the stage. I hasten to add that I completely missed the second support act’s performance. Therefore they aren’t even getting discussed. Professional of me, I know.
With Editors on stage the Crowd, though markedly less peanuty, made a concerted effort to step up its level of weird. Nobody wanted to move their feet at all. Not even once, for the duration of the Editor’s mammoth 2hour performance. Hands moved fine, so did arms. Head movement was acceptable. Feet and Legs? No! Unbelievably static, the only exception was the immediate first two or three rows of spectators which seemed to suss out jumping on the spot. Having said all this, I’m not sure I’d have jumped about like an idiot given the opportunity. The Editors sound is neither frantic, nor is it sleep inducing. They hit a fine balance of electricity and melody which apparently renders the lower half of your body unable to move. The only gig I have been to that was more centred on standing around was Gary Numan in Newcastle last year (which was amazing, though equally still). Speaking of Numan, and thus synths, when the hell did Editors put such an emphasis on synthesisers? Their performance was littered with them. To their credit, they were tight, had an amazing sound quality and entertaining stage visuals. The synth’s role to a large extent was to bulk out their sound. Yet, I can’t help but feel that even without the synths the sound would have been full, due to; delightful bass playing, on occasion luscious sounding piano, and their now characteristic guitar tone. All this and I haven’t even mentioned Tom Smith and his raspy, deep, belting voice. I’d argue Tom is the closest our generation has had to a ‘Morrissey’. A popular voice you instantly recognise. It doesn’t disappoint live.
Curiously, throughout the night a trend developed. The crowd in general reacted much more positively to the Editors earlier material. Highlight songs of the gig included first album tracks such as ‘Munich’ and ‘All Sparks’. The second album tracks ‘Smokers Outside the Hospital Doors’ and ‘End has a Start’ also went down a treat. The Third album material however, though still good (in a looser sense) suffered from under-familiarity; and to a lesser degree lack of the Editors characteristic guitar tone. Furthermore I was slightly scared by one trancey-er, all electro, track. All in all it was a fine performance; but, a performance for the most part so unimposing it felt like listening to a CD. If I’d stayed at home with a CD at least I could have sat down.
3/5
Reviewed by Scott McLoughlin
The Editor’s Newcastle gig was characterised by one of the most surreal crowd atmospheres I have ever experienced. The Joy Formidable began the evening’s entertainments with their hybrid ‘Welsh countryside meets industrial London sound’. They make a huge noise for just a trio. Whilst watching them it became clear that their live performances completely eclipsed and surpass the quality of their recorded material. Recordings which I now feel do them an injustice. Highlights include the strangely familiar sounding track ‘Austere’. As thoroughly enjoyable the Joy Formidable were; I was some what distracted by the man stood directly in front of me. He smelt strangely of peanuts, adding ‘smell’ to the audible sensory stimulus I was already experiencing. Anyway, I was then privileged enough to meet the band after their performance in their homely tour van. They are truly genuine people, filled with a desire to make good music whilst being true to their own definition of what good music is. There mentality was refreshingly non-conformist for a decent band in a chart orientated world; having said this however, I would say they do sound a lot like many other indie acts. I recommend you give them a try at least. I then rejoined the crowd just as Editors took to the stage. I hasten to add that I completely missed the second support act’s performance. Therefore they aren’t even getting discussed. Professional of me, I know.
With Editors on stage the Crowd, though markedly less peanuty, made a concerted effort to step up its level of weird. Nobody wanted to move their feet at all. Not even once, for the duration of the Editor’s mammoth 2hour performance. Hands moved fine, so did arms. Head movement was acceptable. Feet and Legs? No! Unbelievably static, the only exception was the immediate first two or three rows of spectators which seemed to suss out jumping on the spot. Having said all this, I’m not sure I’d have jumped about like an idiot given the opportunity. The Editors sound is neither frantic, nor is it sleep inducing. They hit a fine balance of electricity and melody which apparently renders the lower half of your body unable to move. The only gig I have been to that was more centred on standing around was Gary Numan in Newcastle last year (which was amazing, though equally still). Speaking of Numan, and thus synths, when the hell did Editors put such an emphasis on synthesisers? Their performance was littered with them. To their credit, they were tight, had an amazing sound quality and entertaining stage visuals. The synth’s role to a large extent was to bulk out their sound. Yet, I can’t help but feel that even without the synths the sound would have been full, due to; delightful bass playing, on occasion luscious sounding piano, and their now characteristic guitar tone. All this and I haven’t even mentioned Tom Smith and his raspy, deep, belting voice. I’d argue Tom is the closest our generation has had to a ‘Morrissey’. A popular voice you instantly recognise. It doesn’t disappoint live.
Curiously, throughout the night a trend developed. The crowd in general reacted much more positively to the Editors earlier material. Highlight songs of the gig included first album tracks such as ‘Munich’ and ‘All Sparks’. The second album tracks ‘Smokers Outside the Hospital Doors’ and ‘End has a Start’ also went down a treat. The Third album material however, though still good (in a looser sense) suffered from under-familiarity; and to a lesser degree lack of the Editors characteristic guitar tone. Furthermore I was slightly scared by one trancey-er, all electro, track. All in all it was a fine performance; but, a performance for the most part so unimposing it felt like listening to a CD. If I’d stayed at home with a CD at least I could have sat down.
3/5
Friday, 31 October 2008
White Lies @ The Cluny
White Lies are currently riding a wave of anticipation for their debut album, but for now fans have to make do with the release of their new single ‘Death’. Consequently a headline tour couldn’t come at a better time for the band. A close to sold out crowd are spoilt for up and coming alternative bands however as White Lies are joined by Lemington band Post War Years and female fronted 3-piece The Joy Formidable.
There’s something intriguing and fascinating about Post War Years. They started the set to a small arriving crowd, the majority of which probably hadn’t heard of the outfit. However by the end of their set, they’ve won nearly everybody over with their experimental, sample-crammed set, buzzing with energy and guts. With comparisons to Battles, Hot-Chip and Tom Vek this has to be one of the best support band’s I’ve seen all year. Next up, The Joy Formidable seem a more obvious choice as a support act for White Lies, similarly dressed in all black. Despite a strong start to the set, which gets the crowd tapping along, they fail to win over the growing crowd. A few gems signal promises of more to come.
White Lies seemed to have mastered this doom-and-gloom image malarkey. Which perfectly accompanies their equally drastic sound that plays around with lyrics about funerals, the cost of love and the death of a relationship or the death of someone even closer? What White Lies have in abundance is catchy songs. Unfinished Business and Death have been around for some time but other songs in the set glow as bright as the 2 singles. The 4th time I’ve seen this band and it’s a great feeling hearing a song that you remember liking on previous occasions but can’t track down online anywhere. Part of the draw of this band is the lack of songs they’ve put out for people to hear recorded. This must have been what it was like to see a band before the internet made it so easy to spread music and gossip on the latest hype band. Tonight is one of those performances where even though you might not be familiar with the majority of the songs played, you can enjoy yourself and anticipate any future releases. This band is destined for bigger things, a point no one at the Cluny tonight would contest.
Review by Christian Allen
There’s something intriguing and fascinating about Post War Years. They started the set to a small arriving crowd, the majority of which probably hadn’t heard of the outfit. However by the end of their set, they’ve won nearly everybody over with their experimental, sample-crammed set, buzzing with energy and guts. With comparisons to Battles, Hot-Chip and Tom Vek this has to be one of the best support band’s I’ve seen all year. Next up, The Joy Formidable seem a more obvious choice as a support act for White Lies, similarly dressed in all black. Despite a strong start to the set, which gets the crowd tapping along, they fail to win over the growing crowd. A few gems signal promises of more to come.
White Lies seemed to have mastered this doom-and-gloom image malarkey. Which perfectly accompanies their equally drastic sound that plays around with lyrics about funerals, the cost of love and the death of a relationship or the death of someone even closer? What White Lies have in abundance is catchy songs. Unfinished Business and Death have been around for some time but other songs in the set glow as bright as the 2 singles. The 4th time I’ve seen this band and it’s a great feeling hearing a song that you remember liking on previous occasions but can’t track down online anywhere. Part of the draw of this band is the lack of songs they’ve put out for people to hear recorded. This must have been what it was like to see a band before the internet made it so easy to spread music and gossip on the latest hype band. Tonight is one of those performances where even though you might not be familiar with the majority of the songs played, you can enjoy yourself and anticipate any future releases. This band is destined for bigger things, a point no one at the Cluny tonight would contest.
Review by Christian Allen
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