The air heavy, the venue heaving. Adam Bainbridge and his collaborative of musical friends caused quite a stir on Friday evening at the Electric, in Brixton.
The first noticeable point about this show is that Adam Bainbridge isn't so much the frontman, as the conductor on stage. It is he who is on the poster; yet although he is around seven feet tall, he isn't the one you watch on stage. The array of talent on show, means you're continually casting your eye over his tall frame to the boundless energy of the other performers, like superstar Dev Hynes.
This show showcases Kindness' music from both albums so far. Debut record World, You Need a Change of Mind is fast becoming one of the cult records of the 21st century. When the foot stomping Gee Up was dropped into the set midway, the crowd went wild.
The segue of Gee Up into the cover of Womack and Womack's Teardrops is so brilliant. Keeping the crowd completely enraptured throughout the show is Adam's vision. Acclaimed acts such as Dev Hynes and Kelela enter with enthusiasm and alacrity onto the stage. Both sing tracks they featured on from Bainbridge's latest record Otherness, again unconsciously shifting the spotlight away from the Kindness leader.
A really wonderful show was seen here. Conductor Bainbridge decided to play his trump cards for the encore. A rousing version of House was followed by the entrance of Robyn, and the subsequent finale featuring her vocals, Who Do You Love. A tearful Bainbridge wiped away tears as he thanked the crowd. It was him who we loved.
Saturday, 24 January 2015
Monday, 1 December 2014
The best songs of 2014
Here is an arbitary list of the best songs of 2014.
This isn't a definitive list, and I may definitely have forgotten some tracks; but here are 30 favourites of mine from the last twelve months. You can find the Youtube playlist here. The Spotify playlist is here.
Her Ghost- Woman's Hour
Swooning, dreamy soundscapes from Woman's Hour. From the 2014 album Conversations highlighting their sound to best effect.
A Simple Beautiful Truth- Wild Beasts
A cracking little ditty from Kendal's finest. Possibly could be considered a "pop song".
Desire- Anna Calvi
I have already declared my love for Anna Calvi on other pages. A sumptuous record.
Love Letters- Metronomy
The most toe-tapping, joyous song of the decade so far. I can't quite tell you how happy this song makes me feel.
Birth in Reverse- St Vincent
Head turned towards Annie Clark in 2014. The only time St Vincent stood still this year was to perform.
Who Do You Love- Kindness (feat. Robyn)
It leaps, bounds, trips and does a roly-poly over itself, and yet still manages to win a place in your heart.
Let Me Down Gently- La Roux
Lets talk about how good La Roux is. With no hype or hullabaloo, this song walked onto my playlists, and probably shall never leave.
Just One of the Guys- Jenny Lewis
Consistently excellent records from Jenny- possibly her most commercial to date- with a little help from her famous friends.
Holy City- Joan as Policewoman
With such a rich distinctive vocal, one cannot exclude Joan Wasser.
Happy Idiot- TV On the Radio
Not just included because Karen Gillan is in the video. A grower much like a beanstalk.
My Desire- Interpol
My goodness, I have missed my slice of Interpol. Paul Banks' vocal is so well delivered here, it is like he is sitting next to me singing.
Staircase at the University- Morrissey
Back to form, back on song, and back with a vengeance. "If you don't get three A's!..." Lyrically it is compelling listening.
Clear Skies Ever Closer- Cherry Ghost
Simon Aldred has the uncanny ability to write a song which immediately conjures up memories of nostalgia.
Oh! Whiskey- Jimi Goodwin
"Please don't give me the blues". Jimi Goodwin's gentle tale causing no blues upon hearing this.
Argent- Jane Weaver
Incredibly listenable track. Rumbling along at a tempo and you're suddenly encapsulated in the record.
Anonymous Club- Courtney Barnett
It is hard to explain who or what Courtney Barnett is. Her records do not really adhere to any rules.
Looking For Someone- East India Youth
Requires a listen at top volume without any distractions. Exponentially became one of my favourites.
Keep It Healthy- Warpaint
Slightly askew, slightly hazy, slightly off centre, yet ever so slightly compelling.
Luna- Bombay Bicycle Club
Again and again, the BBC make a record full of danceable grooves and stunning melodic harmonies.
My Sad Captains- Elbow
Guy Garvey at his hearty best. Rising and falling in harmony with Garvey's delivery.
Can't Do Without You- Caribou
Hear it loud and it is another animal. Skipping along like a gazelle, full of resonance and beat.
Swimming Pool- Emmy the Great
A soft, smart, and touching record.
Strange Weather- Anna Calvi and David Byrne
A spellbinding cover of Keren Ann, which may creep you out in a darkened room.
Pleasure- Baxter Dury
Oddly wonderful record from Baxter. Tipping the surreal into song.
Archie, Marry Me- Alvvays
Distinctively standing out. It is not clear whether Archie said yes or no.
You Are Not Alone- Cathal Smyth
A wonderfully deft piece of music. Cathal's straining vocal; along with the haunting harmonies are just perfect.
Zombie- Jamie T
Is it punk? Is it pop? Without a doubt; it is really, really good. Driving guitars, driving drums, a cracking return from Jamie Treays.
Month of Sundays- Metronomy
Listen to the bass. A brilliant bass with legs and feet, and not afraid to use them.
Exorcise- Gazelle Twin
Appearing to freak out the subconscious, and succeeding most definitely.
Johnny and Mary- Todd Terje (feat. Bryan Ferry)
Some songs take you completely by surprise. A mighty collaboration and a fine cover.
Digital Witness- St Vincent
Summarising the world we now live in, St Vincent at her very best.
Ex Hex- Waterfall
A great piece of rock and roll in under three minutes.
Are there any I've missed completely? Let me know. What are your favourite songs from 2014?
This isn't a definitive list, and I may definitely have forgotten some tracks; but here are 30 favourites of mine from the last twelve months. You can find the Youtube playlist here. The Spotify playlist is here.
Her Ghost- Woman's Hour
Swooning, dreamy soundscapes from Woman's Hour. From the 2014 album Conversations highlighting their sound to best effect.
A Simple Beautiful Truth- Wild Beasts
A cracking little ditty from Kendal's finest. Possibly could be considered a "pop song".
Desire- Anna Calvi
I have already declared my love for Anna Calvi on other pages. A sumptuous record.
Love Letters- Metronomy
The most toe-tapping, joyous song of the decade so far. I can't quite tell you how happy this song makes me feel.
Birth in Reverse- St Vincent
Head turned towards Annie Clark in 2014. The only time St Vincent stood still this year was to perform.
Who Do You Love- Kindness (feat. Robyn)
It leaps, bounds, trips and does a roly-poly over itself, and yet still manages to win a place in your heart.
Let Me Down Gently- La Roux
Lets talk about how good La Roux is. With no hype or hullabaloo, this song walked onto my playlists, and probably shall never leave.
Just One of the Guys- Jenny Lewis
Consistently excellent records from Jenny- possibly her most commercial to date- with a little help from her famous friends.
Holy City- Joan as Policewoman
With such a rich distinctive vocal, one cannot exclude Joan Wasser.
Happy Idiot- TV On the Radio
Not just included because Karen Gillan is in the video. A grower much like a beanstalk.
My Desire- Interpol
My goodness, I have missed my slice of Interpol. Paul Banks' vocal is so well delivered here, it is like he is sitting next to me singing.
Staircase at the University- Morrissey
Back to form, back on song, and back with a vengeance. "If you don't get three A's!..." Lyrically it is compelling listening.
Clear Skies Ever Closer- Cherry Ghost
Simon Aldred has the uncanny ability to write a song which immediately conjures up memories of nostalgia.
Oh! Whiskey- Jimi Goodwin
"Please don't give me the blues". Jimi Goodwin's gentle tale causing no blues upon hearing this.
Argent- Jane Weaver
Incredibly listenable track. Rumbling along at a tempo and you're suddenly encapsulated in the record.
Anonymous Club- Courtney Barnett
It is hard to explain who or what Courtney Barnett is. Her records do not really adhere to any rules.
Looking For Someone- East India Youth
Requires a listen at top volume without any distractions. Exponentially became one of my favourites.
Keep It Healthy- Warpaint
Slightly askew, slightly hazy, slightly off centre, yet ever so slightly compelling.
Luna- Bombay Bicycle Club
Again and again, the BBC make a record full of danceable grooves and stunning melodic harmonies.
My Sad Captains- Elbow
Guy Garvey at his hearty best. Rising and falling in harmony with Garvey's delivery.
Can't Do Without You- Caribou
Hear it loud and it is another animal. Skipping along like a gazelle, full of resonance and beat.
Swimming Pool- Emmy the Great
A soft, smart, and touching record.
Strange Weather- Anna Calvi and David Byrne
A spellbinding cover of Keren Ann, which may creep you out in a darkened room.
Pleasure- Baxter Dury
Oddly wonderful record from Baxter. Tipping the surreal into song.
Archie, Marry Me- Alvvays
Distinctively standing out. It is not clear whether Archie said yes or no.
You Are Not Alone- Cathal Smyth
A wonderfully deft piece of music. Cathal's straining vocal; along with the haunting harmonies are just perfect.
Zombie- Jamie T
Is it punk? Is it pop? Without a doubt; it is really, really good. Driving guitars, driving drums, a cracking return from Jamie Treays.
Month of Sundays- Metronomy
Listen to the bass. A brilliant bass with legs and feet, and not afraid to use them.
Exorcise- Gazelle Twin
Appearing to freak out the subconscious, and succeeding most definitely.
Johnny and Mary- Todd Terje (feat. Bryan Ferry)
Some songs take you completely by surprise. A mighty collaboration and a fine cover.
Digital Witness- St Vincent
Summarising the world we now live in, St Vincent at her very best.
Ex Hex- Waterfall
A great piece of rock and roll in under three minutes.
Are there any I've missed completely? Let me know. What are your favourite songs from 2014?
Morrissey- 02 Arena. Saturday 29th November 2014.
A tremendous roar from a crowd full of haircuts greeted Morrissey onto the stage on Saturday night. A besotted, giddy London crowd rose to witness the arrival of their hero. It isn't often that he plays in the UK; this somewhat 'homecoming' gig was full of anticipation. Indeed, the standing section in the crowd was already jam-packed before the terrific support act Anna Calvi had even sung a note.
A picture of the Queen with her middle finger raised appeared on the big screens, and the band walked on stage, lead by the man himself. The Queen Is Dead was followed swiftly by Suedehead, and we were off with a bang. Morrissey appeared to be dressed ready for martial arts in a white Judo Gi; yet relaxed with expression in his open arms; "it is a privilege, it is a privilege" he announced between songs. I'm Throwing My Arms Around Paris almost felt like a giant hug aimed at the crowd. You could hear people at the very back of the arena yelling out all the words.
All bar two songs from Morrissey's latest record, World Peace is None of Your Business were heard here. The sing-along from nearly everyone continued; the gentleman standing in front of me in a bright red shirt bellowing: "Hooray, hooray, the bullfighter dies!" I also noticed the venue was home to the largest ever array of various T-shirts dedicated to the front man.
The crowd suddenly were whipped up into a frenzy during the song Meat Is Murder. A thunderous cacophany of percussion accompanying a pretty dreadful film of animal slaughtering on the trio of big screens. Morrissey turned away from the crowd to face the screen; hands on head witnessing the distressing pictures. It was such a powerful moment; the drums and the sheer noise mercilessly shaking the subconscious.
Speedway rounded out the set; the audience reflecting back Morrissey's open arms and vocals; "all of the rumours keeping me grounded.." During the encore, there was a hint that this might be his last ever UK show, with the delicately beautiful Asleep featuring the tentative final refrain of "bye bye, bye bye"; the protagonist cast in full shadow as the song concluded. With the lights back up, this was followed up by a reflective, moving version of Everyday Is Like Sunday. Several over zealous fans at the front tried (and failed) to reach out and touch their man, security hauling them away. All hands, faces and arms in the 02 Arena reaching out towards their patriarch. It was breathless, it was poignant, it was spectacular, it was Morrissey.
A picture of the Queen with her middle finger raised appeared on the big screens, and the band walked on stage, lead by the man himself. The Queen Is Dead was followed swiftly by Suedehead, and we were off with a bang. Morrissey appeared to be dressed ready for martial arts in a white Judo Gi; yet relaxed with expression in his open arms; "it is a privilege, it is a privilege" he announced between songs. I'm Throwing My Arms Around Paris almost felt like a giant hug aimed at the crowd. You could hear people at the very back of the arena yelling out all the words.
All bar two songs from Morrissey's latest record, World Peace is None of Your Business were heard here. The sing-along from nearly everyone continued; the gentleman standing in front of me in a bright red shirt bellowing: "Hooray, hooray, the bullfighter dies!" I also noticed the venue was home to the largest ever array of various T-shirts dedicated to the front man.
The crowd suddenly were whipped up into a frenzy during the song Meat Is Murder. A thunderous cacophany of percussion accompanying a pretty dreadful film of animal slaughtering on the trio of big screens. Morrissey turned away from the crowd to face the screen; hands on head witnessing the distressing pictures. It was such a powerful moment; the drums and the sheer noise mercilessly shaking the subconscious.
Speedway rounded out the set; the audience reflecting back Morrissey's open arms and vocals; "all of the rumours keeping me grounded.." During the encore, there was a hint that this might be his last ever UK show, with the delicately beautiful Asleep featuring the tentative final refrain of "bye bye, bye bye"; the protagonist cast in full shadow as the song concluded. With the lights back up, this was followed up by a reflective, moving version of Everyday Is Like Sunday. Several over zealous fans at the front tried (and failed) to reach out and touch their man, security hauling them away. All hands, faces and arms in the 02 Arena reaching out towards their patriarch. It was breathless, it was poignant, it was spectacular, it was Morrissey.
Tuesday, 11 November 2014
Difford and Tilbrook. Union Chapel. Friday 7th November 2014.
A alarm clock went off, the lights went up, and Chris Difford and Glenn Tilbrook "woke up" on stage. They both sat up in bed, pulled back the duvet and stood up to huge cheers from the Union Chapel crowd. Both then sat at the breakfast table, Tilbrook wearing a rather fetching pair of slippers, Difford in a snazzy pair of pyjamas.
Was this morning ritual the secret behind Squeeze's long running success? Still in pyjamas, they both reached for the guitars. Take Me I'm Yours the familiar opening number from the set. This was possibly the most relaxed start to a gig ever witnessed. Glenn and Chris then took turns to play solo; whilst the other disappeared to change into a smart lounge suit, complete with a pair of sensible shoes.
In between songs, a microphone was passed around to various members of the audience to ask questions; by the same guy selling the merchandise at the back of the chapel. Most questions started the same way: "I've loved you "X" amount of years..." It was clear that the audience were made up of longtime fans. The venue was superb. The hot chocolate with marshmallows that I consumed at the half time interval was the greatest hot chocolate I've ever tasted. Indeed, the church proved to be a perfect venue, especialy when you hear the surround sound of audience voices singing every word to songs like Pulling Mussels (From a Shell) and Is This Love?
Beautiful versions of Tempted and Points Of View saw Glenn Tilbrook step more central on the stage to sit and play the keys. Somehow, Glenn Tilbrook has managed to hang onto that incredibly unique and warm vocal style; he is still able to hit those high notes in Black Coffee In Bed. Difford singing much more deeply, but alongside Tilbrook; creating that trademark Squeeze sound.
Glenn's hair, long and floppy, fluttered in the breeze created by the electric cooling fans to his left. Chris, on the other hand, complete with a smart pair of glasses, rocked back and forward on his acoustic guitar next to an upright heater. This was a stunning set; and a privilege to watch and listen to one of the greatest partnerships in rock and roll history. The smiles from the crowd reflected back in the faces of Difford and Tilbrook. As the final bars to Goodbye Girl sounded out, and the applause rang loudly; it dawned on me that they had indeed brought the house down.
Was this morning ritual the secret behind Squeeze's long running success? Still in pyjamas, they both reached for the guitars. Take Me I'm Yours the familiar opening number from the set. This was possibly the most relaxed start to a gig ever witnessed. Glenn and Chris then took turns to play solo; whilst the other disappeared to change into a smart lounge suit, complete with a pair of sensible shoes.
In between songs, a microphone was passed around to various members of the audience to ask questions; by the same guy selling the merchandise at the back of the chapel. Most questions started the same way: "I've loved you "X" amount of years..." It was clear that the audience were made up of longtime fans. The venue was superb. The hot chocolate with marshmallows that I consumed at the half time interval was the greatest hot chocolate I've ever tasted. Indeed, the church proved to be a perfect venue, especialy when you hear the surround sound of audience voices singing every word to songs like Pulling Mussels (From a Shell) and Is This Love?
Beautiful versions of Tempted and Points Of View saw Glenn Tilbrook step more central on the stage to sit and play the keys. Somehow, Glenn Tilbrook has managed to hang onto that incredibly unique and warm vocal style; he is still able to hit those high notes in Black Coffee In Bed. Difford singing much more deeply, but alongside Tilbrook; creating that trademark Squeeze sound.
Glenn's hair, long and floppy, fluttered in the breeze created by the electric cooling fans to his left. Chris, on the other hand, complete with a smart pair of glasses, rocked back and forward on his acoustic guitar next to an upright heater. This was a stunning set; and a privilege to watch and listen to one of the greatest partnerships in rock and roll history. The smiles from the crowd reflected back in the faces of Difford and Tilbrook. As the final bars to Goodbye Girl sounded out, and the applause rang loudly; it dawned on me that they had indeed brought the house down.
Thursday, 30 October 2014
Record of the Year 2014. Metronomy - Love Letters.
Forget the Mercury Music Prize album of the year. The album of the year is Metronomy's Love Letters.
It is forty one minutes of sheer delightfulness, each note a joy to the ears. It wanders into view with the opening track The Upsetter; Joseph Mount's delicate lead vocals straining the line: "I'm gonna beam my message to ya". There are gaps and spaces in between the notes throughout this album, allowing a fluidity which allows for full artistic license.
There are also moments where you want to know what on Earth is going on. The growing guitar solo at the end of The Upsetter causing you to think it might have got there by mistake.
Long term followers of Metronomy are used to relaxing starts to records; one must look at 2011's English Riviera and the sound of the shoreline and the string quartet in the opening number. The Hors d'oeuvre of this album is captured within the gentle lilting tones of I'm Aquarius and the tremendously catchy Monstrous.
Track 4 meanwhile, carries a change of gears. Slow tooting horns build up to a crescendo with the beginning of the title track. I cannot think of a more exciting song of this decade so far. From Oscar Cash's foot-stomping organ, to Gbenga Adelakan's bass riffs, to the harmonies surrounding Anna Prior's vocals, Love Letters is ten out of ten. Throw in the pause along with the saxophone solo at the end, and you have a very happy man writing this review.
For a little while, I didn't get past track 4. After I allowed myself not to hit the back button, I was "playing buzz a bell and run" in Month of Sundays, complete with a terse stomping bass riff. Go further, and you're meddling with Boy Racers and Call Me. Two tracks which veer out of control like an untrimmed haircut; synonymous with Metronomy records from the past.
Talking of Haircuts, well, I can't work out what is going on with the water splash and the fade in and out of track 8, The Most Immaculate Haircut. Maybe the splash is a segue into Reservoir? Possibly the most "pop" song on the album; Reservoir is a terrific upbeat ditty, almost "Popcorn" like in delivery. The tempo is enough to keep you on the dancefloor.
The final track is Never Wanted, again slowing the pace and with mysterious lyrical nods to toothpaste and moisturiser. Akin to the heartbreaking Some Written on English Riviera, this is masterpiece. A song in which Joseph Mount begins, and the band one by one join in. The bass notes here are sumptuous. With a dreamy effect to the sound and vocals; it leaves you completely content. This is my favourite record of 2014.
It is forty one minutes of sheer delightfulness, each note a joy to the ears. It wanders into view with the opening track The Upsetter; Joseph Mount's delicate lead vocals straining the line: "I'm gonna beam my message to ya". There are gaps and spaces in between the notes throughout this album, allowing a fluidity which allows for full artistic license.
There are also moments where you want to know what on Earth is going on. The growing guitar solo at the end of The Upsetter causing you to think it might have got there by mistake.
Long term followers of Metronomy are used to relaxing starts to records; one must look at 2011's English Riviera and the sound of the shoreline and the string quartet in the opening number. The Hors d'oeuvre of this album is captured within the gentle lilting tones of I'm Aquarius and the tremendously catchy Monstrous.
Track 4 meanwhile, carries a change of gears. Slow tooting horns build up to a crescendo with the beginning of the title track. I cannot think of a more exciting song of this decade so far. From Oscar Cash's foot-stomping organ, to Gbenga Adelakan's bass riffs, to the harmonies surrounding Anna Prior's vocals, Love Letters is ten out of ten. Throw in the pause along with the saxophone solo at the end, and you have a very happy man writing this review.
For a little while, I didn't get past track 4. After I allowed myself not to hit the back button, I was "playing buzz a bell and run" in Month of Sundays, complete with a terse stomping bass riff. Go further, and you're meddling with Boy Racers and Call Me. Two tracks which veer out of control like an untrimmed haircut; synonymous with Metronomy records from the past.
Talking of Haircuts, well, I can't work out what is going on with the water splash and the fade in and out of track 8, The Most Immaculate Haircut. Maybe the splash is a segue into Reservoir? Possibly the most "pop" song on the album; Reservoir is a terrific upbeat ditty, almost "Popcorn" like in delivery. The tempo is enough to keep you on the dancefloor.
The final track is Never Wanted, again slowing the pace and with mysterious lyrical nods to toothpaste and moisturiser. Akin to the heartbreaking Some Written on English Riviera, this is masterpiece. A song in which Joseph Mount begins, and the band one by one join in. The bass notes here are sumptuous. With a dreamy effect to the sound and vocals; it leaves you completely content. This is my favourite record of 2014.
Saturday, 11 October 2014
Vivien Glass. The Enterprise, Camden. Friday 10th October 2014.
In what can only be described as a creaky wooden-floored box bedroom above a pub, there's a new wall of sound about to hit you.
A three piece electronic band, by the name of Vivien Glass, take to the stage at the Enterprise, Camden Town.
Every face in the packed room turns to the three figures on stage; each figure with a piece of electronic equipment in front of them. From the first beat of the opening number Black Magic, the creaks of the floorboards are in tune with the rhythmic patterned sound. Vivien Glass appear effortlessly cool on stage, all stunningly dressed in black, with glitter seemingly everywhere. The influence of late seventies-early eighties synthesiser pop is evident both from the sound and the look.
This is only Vivien Glass's second set as a three piece band. They were formed in 2010 by Melissa Glass (lead vocalist and keyboards) and Jan-Michael Glass (guitarist and synthesisers). By adding extra ingredients in drummer and vocalist Glass Foxx to their line-up in recent months, the band now has some fire-power and drive to their live performance.
Songs like Something Running and Part Machine; both featuring those thundering synthesisers and electronic drums, showcase the powerful sound. Alongside Melissa's lead vocals, Jan-Michael and Foxx's harmonies work beautifully. This is a band that has clearly practised and honed their set. Everything from the new circuitry of lights to the banner stands featuring the band's logo has been considered.
There is a mixture of old and new songs in the set. A couple of tracks are taken from their 2013 debut record Awake, My Sleeper; including the finale The Changing, a fantastic foot-stomper featuring chiming synthesisers and alternating harmonies throughout.
Unfortunately, there was no time for an encore, however, there was plenty of time for warm applause from the watching crowd. This new wall of sound is well worth listening to. These guys are onto bigger and better things; the box bedroom is just the beginning.
A three piece electronic band, by the name of Vivien Glass, take to the stage at the Enterprise, Camden Town.
Every face in the packed room turns to the three figures on stage; each figure with a piece of electronic equipment in front of them. From the first beat of the opening number Black Magic, the creaks of the floorboards are in tune with the rhythmic patterned sound. Vivien Glass appear effortlessly cool on stage, all stunningly dressed in black, with glitter seemingly everywhere. The influence of late seventies-early eighties synthesiser pop is evident both from the sound and the look.
This is only Vivien Glass's second set as a three piece band. They were formed in 2010 by Melissa Glass (lead vocalist and keyboards) and Jan-Michael Glass (guitarist and synthesisers). By adding extra ingredients in drummer and vocalist Glass Foxx to their line-up in recent months, the band now has some fire-power and drive to their live performance.
Songs like Something Running and Part Machine; both featuring those thundering synthesisers and electronic drums, showcase the powerful sound. Alongside Melissa's lead vocals, Jan-Michael and Foxx's harmonies work beautifully. This is a band that has clearly practised and honed their set. Everything from the new circuitry of lights to the banner stands featuring the band's logo has been considered.
There is a mixture of old and new songs in the set. A couple of tracks are taken from their 2013 debut record Awake, My Sleeper; including the finale The Changing, a fantastic foot-stomper featuring chiming synthesisers and alternating harmonies throughout.
Unfortunately, there was no time for an encore, however, there was plenty of time for warm applause from the watching crowd. This new wall of sound is well worth listening to. These guys are onto bigger and better things; the box bedroom is just the beginning.
Thursday, 9 October 2014
Cathal Smyth- Wilton's Music Hall. Wednesday 8th October 2014
In an alleyway in East London, Wilton's Music Hall waves shyly. Blink and you'll walk past it. I don't think the venue itself realises how beautiful it is; currently, it resembles a building site on the exterior, but on the inside it is remarkable.
Chords and notes can reach the ceiling effortlessly. The vocals can stretch up to the balcony which wraps around the seating in the stalls below. Due to a slight tilt of the building, there is a good view of the stage from all angles.
This week, Cathal Smyth is in residency for three nights. The Madness frontman took a seat on-stage in an armchair. Did any member of Madness really sit down? Cathal has poured his heart into his new album "A Comfortable Man"; and -dressed in a dapper smart cream suit with no tie- along with the armchair, he really looked every inch the definition of that.
Backed by the Joe Duddell Ensemble, plus actor and Dexy's singer Madeleine Hyland; this was a show that brought tears to eyes across the auditorium. The orchestra providing the tender tones. There is no heavy heavy monster sound here; it is very deft, each note considered.
.JPG)
This is a touching hour long set, making you smile and reflect throughout. The songs are about love, and the loss of love. You love Cathal all the more for it. The armchair is a lovely touch. For one song it is just Smyth and a piano. Together with the orchestra, it is stunning. The delicate vocal melodies in the final song You're Not Alone, are worth the trip to East London alone. A nod must also go to the lighting director and set designer, providing the perfect ambience and display.
Escapism is rare in this modern world. As the clapping dissipated and I walked away from Wilton's, I realised I had found my escape; between the rumble of the Docklands Light Railway and the lapping tides of the Thames at Wapping.
Chords and notes can reach the ceiling effortlessly. The vocals can stretch up to the balcony which wraps around the seating in the stalls below. Due to a slight tilt of the building, there is a good view of the stage from all angles.
This week, Cathal Smyth is in residency for three nights. The Madness frontman took a seat on-stage in an armchair. Did any member of Madness really sit down? Cathal has poured his heart into his new album "A Comfortable Man"; and -dressed in a dapper smart cream suit with no tie- along with the armchair, he really looked every inch the definition of that.
Backed by the Joe Duddell Ensemble, plus actor and Dexy's singer Madeleine Hyland; this was a show that brought tears to eyes across the auditorium. The orchestra providing the tender tones. There is no heavy heavy monster sound here; it is very deft, each note considered.
.JPG)
This is a touching hour long set, making you smile and reflect throughout. The songs are about love, and the loss of love. You love Cathal all the more for it. The armchair is a lovely touch. For one song it is just Smyth and a piano. Together with the orchestra, it is stunning. The delicate vocal melodies in the final song You're Not Alone, are worth the trip to East London alone. A nod must also go to the lighting director and set designer, providing the perfect ambience and display.
Escapism is rare in this modern world. As the clapping dissipated and I walked away from Wilton's, I realised I had found my escape; between the rumble of the Docklands Light Railway and the lapping tides of the Thames at Wapping.
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