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.
Friday, 23 April 2010
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.
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