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.
Showing posts with label The Sage Gateshead. Show all posts
Showing posts with label The Sage Gateshead. Show all posts
Thursday, 6 May 2010
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.
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!
Saturday, 16 January 2010
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.
Wednesday, 2 December 2009
Music of the Ashigs from Azerbaijan at The Sage
Reviewed by Hedd Thomas
“Oh, how very ethnic,” reacted a gentleman when I told him of this concert I'd be attending. If by “ethnic” he was referring to the 14th Century origins of the music and poetry then he was right; if, however, he was expecting something simple in both its music and its following then eyeing the smart suits and ties of the performers even before hearing their enticing sounds would confirm that this is a high art form indeed.
The evening was the result of a partnership between the Pakistan Cultural Society based here in Newcastle and the Asian Music Circuit, London. They aimed to showcase two musical traditions of Azerbaijan. The first was the art of the ashig, literally “falling in love” - bardic musicians who sing everything from epic songs and sagas to serenades and ballads. They accompany themselves on the eight- or ten-stringed plucked saz. The second was the mugham, the indigenous modal classical music of Azerbaijan. Characterised by a large degree of improvisation, mughams feature a singer accompanied by two instrumentalists playing tar (long-necked lute) and kamancha (spike-fiddle). Seven musicians were due to perform, many with international reputations.
There is something very satisfying about watching a performer make seemingly impossible music look easy. The fingers of Azer Maharramov danced from one saz fret to another with ease, showing off his instrument's capabilities while contentedly smiling to himself throughout; Ramin Qarayev's huge melismas flowed out with no trouble at all. The bright, cheerful songs of Qalandar Zeynalov proved why he's one of the most popular ashigs in Azerbaijan; and while Aytekin Akbarova's saz skills weren't quite as equal as her male counterparts her main talent as an author and performer of poems shone, portraying the story with much conviction. Some, like Akbarova, sung outwardly to the audience, about half of which were members of the local Arezi-Turkish-Iranian community, while Zeyalov was singing up close to his saz and others like Maharramov sung with his eyes closed, lost in his own world. If it weren't for the disappointing lay out in the Northern Rock Foundation Hall and the cold lighting this could have been a very intimate first half indeed.
Elshan Mansurov started the second half with a kamancha solo. A recent graduate from one of Azerbaijan's conservatoires, his inexperience showed at times by the look of concentration focused on his fingers. What he lacked in expression, however, was more than made up for in his great tone and phrasing. The following song, translated as “Blonde Bride,” is a favourite amongst Azeris and gave the soloist Gochaq Askarov the perfect opportunity to demonstrates his strong but unforced high-pitched voice with an incredibly melancholic melody. The wailing melismas in the second mugham presented him with equally good chances to prove his skill. It was the very experienced tar player Malik Mansurov, however, that was the highlight of the half. A teacher at Azerbaijan's top conservatoires, he is a virtuoso when it comes to technique, playing with lots of dynamic variation, darting fingers and great attention to detail; he played with such feeling that he succeeded in telling the story more effectively then even the singer himself.
“It's great music and it's really good to hear my mother tongue,” said one Azeri member of the audience who grew up in Iran and now lives in Newcastle, “I only get to hear Azeri these days when I'm on the phone to my mum!” This summed up the evening. It was great music for those familiar with it and fascinating for those less so; and although every performer was a good musician in their own right it was their love for the music and the passion with which they delivered it that made the concert so worthwhile.
4/5
For more information about the Pakistan Cultural Society and to check out their future concerts, go to: www.pakistanculturalsociety.co.uk
For more information about the Asian Music Circuit and to check out their future concerts, go to: www.amc.org.uk
“Oh, how very ethnic,” reacted a gentleman when I told him of this concert I'd be attending. If by “ethnic” he was referring to the 14th Century origins of the music and poetry then he was right; if, however, he was expecting something simple in both its music and its following then eyeing the smart suits and ties of the performers even before hearing their enticing sounds would confirm that this is a high art form indeed.
The evening was the result of a partnership between the Pakistan Cultural Society based here in Newcastle and the Asian Music Circuit, London. They aimed to showcase two musical traditions of Azerbaijan. The first was the art of the ashig, literally “falling in love” - bardic musicians who sing everything from epic songs and sagas to serenades and ballads. They accompany themselves on the eight- or ten-stringed plucked saz. The second was the mugham, the indigenous modal classical music of Azerbaijan. Characterised by a large degree of improvisation, mughams feature a singer accompanied by two instrumentalists playing tar (long-necked lute) and kamancha (spike-fiddle). Seven musicians were due to perform, many with international reputations.
There is something very satisfying about watching a performer make seemingly impossible music look easy. The fingers of Azer Maharramov danced from one saz fret to another with ease, showing off his instrument's capabilities while contentedly smiling to himself throughout; Ramin Qarayev's huge melismas flowed out with no trouble at all. The bright, cheerful songs of Qalandar Zeynalov proved why he's one of the most popular ashigs in Azerbaijan; and while Aytekin Akbarova's saz skills weren't quite as equal as her male counterparts her main talent as an author and performer of poems shone, portraying the story with much conviction. Some, like Akbarova, sung outwardly to the audience, about half of which were members of the local Arezi-Turkish-Iranian community, while Zeyalov was singing up close to his saz and others like Maharramov sung with his eyes closed, lost in his own world. If it weren't for the disappointing lay out in the Northern Rock Foundation Hall and the cold lighting this could have been a very intimate first half indeed.
Elshan Mansurov started the second half with a kamancha solo. A recent graduate from one of Azerbaijan's conservatoires, his inexperience showed at times by the look of concentration focused on his fingers. What he lacked in expression, however, was more than made up for in his great tone and phrasing. The following song, translated as “Blonde Bride,” is a favourite amongst Azeris and gave the soloist Gochaq Askarov the perfect opportunity to demonstrates his strong but unforced high-pitched voice with an incredibly melancholic melody. The wailing melismas in the second mugham presented him with equally good chances to prove his skill. It was the very experienced tar player Malik Mansurov, however, that was the highlight of the half. A teacher at Azerbaijan's top conservatoires, he is a virtuoso when it comes to technique, playing with lots of dynamic variation, darting fingers and great attention to detail; he played with such feeling that he succeeded in telling the story more effectively then even the singer himself.
“It's great music and it's really good to hear my mother tongue,” said one Azeri member of the audience who grew up in Iran and now lives in Newcastle, “I only get to hear Azeri these days when I'm on the phone to my mum!” This summed up the evening. It was great music for those familiar with it and fascinating for those less so; and although every performer was a good musician in their own right it was their love for the music and the passion with which they delivered it that made the concert so worthwhile.
4/5
For more information about the Pakistan Cultural Society and to check out their future concerts, go to: www.pakistanculturalsociety.co.uk
For more information about the Asian Music Circuit and to check out their future concerts, go to: www.amc.org.uk
Wednesday, 18 February 2009
Preview - Noah And The Whale @ The Sage, Gateshead 10/03/09
The Sage - an ‘international home for music and musical discovery’. This fantastic venue is entirely dedicated to music of all varieties; jazz, country, and even classical. So having a recently popular indie band such as Noah And The Whale to play is quite a statement. It shows that this band can’t be just like any other outfit, dishing out pop song after pop song, there is a lot more to them, i.e. genuine musical talent. Noah And The Whale have a definite feel to their music, when listening to their album Peaceful, The World Lays Me Down I realised it has a lot of depth and sentiment to it. With carefully constructed lyrics and violin-clad harmonies it’s folksy and jolly in some parts, and dark and acoustic in others, broken up by the odd irresistible country-esque indie track. It takes a few listens to really appreciate it, but once you get to know and love the charming melodies, seeing this band live must be an absolute treat, a sing-a-long for want of a better phrase. With such an array of tracks this gig promises to deliver a varied and blossoming performance, and well if they’re playing at The Sage then they must be good, ukuleles and all.
Preview by Marzena Dabrowska
Sunday, 9 November 2008
Neon Neon at the Sage, 9th November 2008
With a few notable exceptions, pop music in the 80s was rubbish, wasn’t it? A Flock Of Seagulls feasting off the corpses of bloated pop bands fuelled by the attitudes of Thatcherism only to be swept away in a blizzard of cocaine and hedonism. Appropriate then, that Neon Neon have appropriated sounds so synonymous with a time so rich in distended self-indulgence to tell the tumultuous story of John Z. Delorean, founder of the Delorean motor company; a man notorious for his sordid affairs, crafty business mind and ceaseless self indulgence. It’s an album about the highs and lows, the dizzying ecstasy and inevitable pitfalls of consumerism, capitalism and the American dream. And where better to preach this message than Gateshead?
Crammed into The Sage’s hall two with drink in hand, after a ferocious set by hip-hop troupe Yo Majesty! which left my companion and myself reeling with massive grins on our faces, Neon Neon’s Boom Bip kicks things off by constructing the metallic, smooth, futuristic sounding bleeps and beats that colour ‘Stainless Style’. Gorgeously danceable while self aware, Neon Neon avoids being bogged down by it’s own self- referencing intelligence, because for all it’s a cleverly constructed concept, it’s also got soul and tunes by the bucket load. Boom Bip was gradually joined onstage by a drummer, the nauseatingly beautiful Cate Le Bon on bass and backing vocals, and, of course, the man with the golden throat, that Welsh master of melody- Gruff Rhys. And from the in, we are treated to an evening of eccentric pop perfection. Current single ‘Dream Cars’ floats through the rafters like a wistful smokescreen of melody that latches into your cerebellum and refuses to let go. The consistency of quality is almost overwhelming; every song fizzing with the hooks and quirks to make it a potential single.
As much as I Iove the Super Furries, it must be said that tonight Neon Neon possessed the energy, imagination and eccentricity that SFA gigs have been lacking in recent years. Not since Super Furry Animals donned the stage at Leeds University in a golf cart and glow-in-the dark druid outfits back in ’05 have I been to a gig that felt so much like a carnival; an all encompassing sensual experience. Documentary films glimmer and crackle behind the band, Gruff employs a cavalry of visual aids, but the highlight of the extent of their showmanship comes when collaborator Har Mar Superstar raps for at least 60 seconds while standing on his head. No mean feat, I can attest.
After the pulsating gorgeous beats fizzled out, and the band took a gracious and humble curtain call, we are left with a glorious ringing in our ears. The unlikeliest of pairings has generated one of the finest all out pop albums of the decade.
Review by Ben Lowes-Smith
Crammed into The Sage’s hall two with drink in hand, after a ferocious set by hip-hop troupe Yo Majesty! which left my companion and myself reeling with massive grins on our faces, Neon Neon’s Boom Bip kicks things off by constructing the metallic, smooth, futuristic sounding bleeps and beats that colour ‘Stainless Style’. Gorgeously danceable while self aware, Neon Neon avoids being bogged down by it’s own self- referencing intelligence, because for all it’s a cleverly constructed concept, it’s also got soul and tunes by the bucket load. Boom Bip was gradually joined onstage by a drummer, the nauseatingly beautiful Cate Le Bon on bass and backing vocals, and, of course, the man with the golden throat, that Welsh master of melody- Gruff Rhys. And from the in, we are treated to an evening of eccentric pop perfection. Current single ‘Dream Cars’ floats through the rafters like a wistful smokescreen of melody that latches into your cerebellum and refuses to let go. The consistency of quality is almost overwhelming; every song fizzing with the hooks and quirks to make it a potential single.
As much as I Iove the Super Furries, it must be said that tonight Neon Neon possessed the energy, imagination and eccentricity that SFA gigs have been lacking in recent years. Not since Super Furry Animals donned the stage at Leeds University in a golf cart and glow-in-the dark druid outfits back in ’05 have I been to a gig that felt so much like a carnival; an all encompassing sensual experience. Documentary films glimmer and crackle behind the band, Gruff employs a cavalry of visual aids, but the highlight of the extent of their showmanship comes when collaborator Har Mar Superstar raps for at least 60 seconds while standing on his head. No mean feat, I can attest.
After the pulsating gorgeous beats fizzled out, and the band took a gracious and humble curtain call, we are left with a glorious ringing in our ears. The unlikeliest of pairings has generated one of the finest all out pop albums of the decade.
Review by Ben Lowes-Smith
Tuesday, 7 October 2008
Roots Manuva @ The Sage Gateshead 7th October 2008
Hall 2 at the Sage is probably my favourite venue in Newcastle; it’s a purpose built intimate venue where the artist can get really close to their audience, it has the feel of a dingy pub without having the smell or the residue from the previous evenings festivities. This, though, was probably the weirdest and most surreal gig that I’ve ever been to.
Roots Manuva, to give you some background, is one of the most prominent and critically successful British Hip Hop artists ever. So you expect a certain stereotypical audience, like you expect old couples to be courted to the theatre, and the 14-year-old tight jeans and scruffy hair ‘emotional’ kid to go and see My Chemical Romance. So when I get to there do I then get a 45-year-old guy (age is a guess, I didn’t ask him) on one side, and a mother and daughter on the other. Looking at the standing area, I see mid 30s couples holding hands at the back as their expecting Damien Rice to spring himself out. I actually had the thought ‘Am I at the wrong gig’. So there was Root’s, his DJs, that guy (the typical guy that fills in the last parts of the sentence to amplify it), and around 300 middle class white guys.
Anyway, Roots was on great form, his lyrics meaningful. There was no bling; no East Coast culture. Just straight up music, the warm britishness of his lyrics (Cheese on Toast and Bitter) brings him away from the Americanisation of British Hip Hop, the need for excessive production, which drives away the uniqueness. Everybody, though, were waiting for Witness the Fitness, and it was done with a huge audience reaction that was surprisingly lacking in the earlier songs (probably seeing if Dad was coming down with his Porsche to pick them up).
Overall, a really solid performance, but in my thoughts as I walked away I thought about the problem that has swept to Indie music specifically. Stop making all your music sound the same! Roots has always been in that slot of critics hip hop without making that ‘one record’, that big song. If he wants to become big, like Dizzie or Sway big, he needs to think about that one song, and maybe go and get some American influences in there. Only for one song though, then he can come back and sit on his rightful place as the spearhead of the British Hip Hop scene.
Review by Izaac Carlisle
Roots Manuva, to give you some background, is one of the most prominent and critically successful British Hip Hop artists ever. So you expect a certain stereotypical audience, like you expect old couples to be courted to the theatre, and the 14-year-old tight jeans and scruffy hair ‘emotional’ kid to go and see My Chemical Romance. So when I get to there do I then get a 45-year-old guy (age is a guess, I didn’t ask him) on one side, and a mother and daughter on the other. Looking at the standing area, I see mid 30s couples holding hands at the back as their expecting Damien Rice to spring himself out. I actually had the thought ‘Am I at the wrong gig’. So there was Root’s, his DJs, that guy (the typical guy that fills in the last parts of the sentence to amplify it), and around 300 middle class white guys.
Anyway, Roots was on great form, his lyrics meaningful. There was no bling; no East Coast culture. Just straight up music, the warm britishness of his lyrics (Cheese on Toast and Bitter) brings him away from the Americanisation of British Hip Hop, the need for excessive production, which drives away the uniqueness. Everybody, though, were waiting for Witness the Fitness, and it was done with a huge audience reaction that was surprisingly lacking in the earlier songs (probably seeing if Dad was coming down with his Porsche to pick them up).
Overall, a really solid performance, but in my thoughts as I walked away I thought about the problem that has swept to Indie music specifically. Stop making all your music sound the same! Roots has always been in that slot of critics hip hop without making that ‘one record’, that big song. If he wants to become big, like Dizzie or Sway big, he needs to think about that one song, and maybe go and get some American influences in there. Only for one song though, then he can come back and sit on his rightful place as the spearhead of the British Hip Hop scene.
Review by Izaac Carlisle
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