There was definitely an electric tingle in the air before the show; tonight marking the midway point of Guy Garvey's wonderfully curated Meltdown Festival. The rumour mill abuzz with tales of who might be playing along too
Before Connan had even played a note, there were audible yelps, screams and shouts welcoming him. Mockasin was distinctly dressed in a pink beret, and green boots. Opening with the cool as hell Caramel flavoured "Do I Make You Feel Shy?" and the surreal "It's Choade my Dear", the night was alive.
The lead singer gave the audience the nod to dance. Whilst the band (comprising drummer, bassist, guitarist, bongo player) tinkered around on the wonderfully tousled number Faking Jazz Together, a huddle of people began surrounding the centre front of the stage. The huddle became a large melee and movement of bodies, arms and legs, extending across and down the aisles.
The rhythm and tempo is efficacious - allowing the listener to focus on the tinkering charms of Connan - while one almost forgets the various time signatures that are ever present in the background.
Two additional treats were in store to help keep that time signature in check. Dave Okumo of The Invisible firstly was introduced on guitar - and the show took on a funkier twist. Following this was special guest ingredient James Blake; who out of nowhere appeared on the keyboards front right of the action to add extra flavour.
One must say that one cannot cover all what went on this special night. So much happened before the audiences' eyes. The evening certainly went into overdrive once all guests were part of the performance.
A gentle chaos took over proceedings. The version of Forever Dolpin Love was charged with excitement from the close quarters of the spectators. Connan started pacing up and down, guitar in hands, acting as a metronome for the rest of the band. Not surprisingly the track gradually built to such a crescendo and wall of noise, what could possibly top it? A stage invasion? Well, quite!
As guitarist Rory McCarthy (shirtless but with braces) was just starting up Megumi the Milkyway: "Ooh ooh ooh, ooh ooh ee ooh!" a slow surge of people started to climb onto the performing area. Rory took a step back literally; the jam was ongoing while the sea of bodies swelled around them. The intruders danced and swayed until they were politely disinvited and told to leave the stage. Megumi was eventually completed once all were non-stage; and the band left to rapturous unhinged applause.
Thursday, 9 June 2016
Madness. 100 Club. Wednesday 8th June 2016.
Until Wednesday evening, Madness had never played the 100 Club, on Oxford Street. A band interwoven with London culture set foot inside the iconic club on a muggy June evening. This was part of a selection of intimate gigs all on the same night for the charity Nordoff Robbins. (Other shows included Squeeze playing Oslo in Hackney and Alison Moyet performing to a tiny room at the Roundhouse).
The band meandered their way from the adjacent backstage door next to the bar through the crowd to the stage; a throwback of sorts to their 1979 Top of the Pops performance of One Step Beyond. Downstairs and away from the hustle and bustle of Oxford Street, the club is an anachronism, steeped in rock history. You forget what year it is when you descend the staircase. This is a hot, dark room with a capacity of 350 people and an infamous* giant pillar in the middle; possibly holding everything together. This year marks forty years since Johnny Rotten and Siouxsie Sioux played their memorable shows over two nights here; by many defined as the beginning of punk.
(*Viv Albertine's excellent memoir narrates the tale of Sid Vicious lobbing a pint glass at the pillar, only for the glass to rebound, shatter and blind a girl in one eye. Vicious was subsequently arrested in the aftermath. Viv tells it better than I do. I highly recommend her book).
The set is a sing-along of a sing-alongs. With numbers like Shut Up, NW5 and The Bed and Breakfast Man, everyone in the room knows the words and gleefully cries them back from where they came. Lead singer Suggs, wearing a suit with a stripy t-shirt and sunglasses; is the ringmaster. Chrissy Boy and Lee Thompson provide the entertainment value; at one point Thompson pours champagne into flutes for the revellers at the front. Bedders on bass, Woody on drums and Barso on keyboards the driving forces on rhythm and tempo.
There is a Pearly Queen in attendance, along with rock royalty too. Chrissy Boy's former girlfriend Jane of the Mo-Dette's was called up on stage to sing a storming version of Madness later on the set, a real highlight of the evening.
Comprising songs old and new, the band perform a rare outing of Girl (Why Don't You), a cover taken from their Dangermen era. The finale is joyful, and the audience are in raptures. Wings of a Dove, the aforementioned Madness and Night Boat to Cairo ensure that those watching on never have two feet on the floor at the same time. This is a humdinger of a gig, in a pocket sized perspiring historic box of a venue. Madness playing the unique 100 Club for the very first time, this felt a real privilege to be there.
The band meandered their way from the adjacent backstage door next to the bar through the crowd to the stage; a throwback of sorts to their 1979 Top of the Pops performance of One Step Beyond. Downstairs and away from the hustle and bustle of Oxford Street, the club is an anachronism, steeped in rock history. You forget what year it is when you descend the staircase. This is a hot, dark room with a capacity of 350 people and an infamous* giant pillar in the middle; possibly holding everything together. This year marks forty years since Johnny Rotten and Siouxsie Sioux played their memorable shows over two nights here; by many defined as the beginning of punk.
(*Viv Albertine's excellent memoir narrates the tale of Sid Vicious lobbing a pint glass at the pillar, only for the glass to rebound, shatter and blind a girl in one eye. Vicious was subsequently arrested in the aftermath. Viv tells it better than I do. I highly recommend her book).
The set is a sing-along of a sing-alongs. With numbers like Shut Up, NW5 and The Bed and Breakfast Man, everyone in the room knows the words and gleefully cries them back from where they came. Lead singer Suggs, wearing a suit with a stripy t-shirt and sunglasses; is the ringmaster. Chrissy Boy and Lee Thompson provide the entertainment value; at one point Thompson pours champagne into flutes for the revellers at the front. Bedders on bass, Woody on drums and Barso on keyboards the driving forces on rhythm and tempo.
There is a Pearly Queen in attendance, along with rock royalty too. Chrissy Boy's former girlfriend Jane of the Mo-Dette's was called up on stage to sing a storming version of Madness later on the set, a real highlight of the evening.
Comprising songs old and new, the band perform a rare outing of Girl (Why Don't You), a cover taken from their Dangermen era. The finale is joyful, and the audience are in raptures. Wings of a Dove, the aforementioned Madness and Night Boat to Cairo ensure that those watching on never have two feet on the floor at the same time. This is a humdinger of a gig, in a pocket sized perspiring historic box of a venue. Madness playing the unique 100 Club for the very first time, this felt a real privilege to be there.
Sunday, 17 April 2016
Mexrrissey. Electric Ballroom. Thursday 14th April 2016.
Following on from a triumphant London outing at the Barbican last year, Morrissey tribute act Mexrrissey returned to the capital with a stunning show at the Electric Ballroom.
Starting with their latest recording El Primero del Gang (Last of the Gang to Die) the seven-piece were onto a winner. Older Smiths classics like Mi Novia Esta En Coma (Girlfriend in a Coma) and El Boca (Bigmouth Strikes Again) went down very well inside the venue. Indeed, on the count of ringleader Camilo Lara during El Boca the crowd did literally rise and fall to his call: "Bigmouth, la la la la" echoing back at him by every voice.
It is producer/ringleader/chief button-presser Camilo Lara who has created this magic formula. Female vocalist Ceci Bastida takes lead vocals on two tracks including a haunting version of Cada Dia Es Domingo (Everyday Is Like Sunday). Guitarist and lead singer Jay de la Cueva is the ace in the pack, and his Spanish lyricisms work so well on Estuvo Bien (Suedehead).
The reactions from the people inside the venue are quite brilliant; whenever someone recognises the tune being played before them there is a little hubbub of excitement. Ultimately, joy and laughter is the prevailing theme of this show by Mexrrissey. The band reach the pinnacle during a glorious rendition of Panic: "Muerte la DJ, Muerte la DJ!" sung by a jubilant Camilo Lara. The joy on his face spreads to everyone in the Ballroom. This is a really wonderful joyous show to go and see. Come back to London soon, guys.
Starting with their latest recording El Primero del Gang (Last of the Gang to Die) the seven-piece were onto a winner. Older Smiths classics like Mi Novia Esta En Coma (Girlfriend in a Coma) and El Boca (Bigmouth Strikes Again) went down very well inside the venue. Indeed, on the count of ringleader Camilo Lara during El Boca the crowd did literally rise and fall to his call: "Bigmouth, la la la la" echoing back at him by every voice.
It is producer/ringleader/chief button-presser Camilo Lara who has created this magic formula. Female vocalist Ceci Bastida takes lead vocals on two tracks including a haunting version of Cada Dia Es Domingo (Everyday Is Like Sunday). Guitarist and lead singer Jay de la Cueva is the ace in the pack, and his Spanish lyricisms work so well on Estuvo Bien (Suedehead).
The reactions from the people inside the venue are quite brilliant; whenever someone recognises the tune being played before them there is a little hubbub of excitement. Ultimately, joy and laughter is the prevailing theme of this show by Mexrrissey. The band reach the pinnacle during a glorious rendition of Panic: "Muerte la DJ, Muerte la DJ!" sung by a jubilant Camilo Lara. The joy on his face spreads to everyone in the Ballroom. This is a really wonderful joyous show to go and see. Come back to London soon, guys.
Wednesday, 17 February 2016
Reeves & Mortimer. Hammersmith Apollo. 15th February 2016.
Vic Reeves and Bob Mortimer made me laugh so hard that my head nearly fell off.
There were times when I laughed so much that I missed the next half a dozen jokes, at the Hammersmith Apollo, on the penultimate night of their 25th anniversary tour.
There was a wonderful moment early in the set where Vic answered the telephone and no one was there. The manner in which he did so consigned me to fits of laughter, uncontrollable.
I didn't realise how funny Vic Reeves was, live and onstage. During the Dr Shakamoto sketch onstage he looked like he was only trying to make Bob laugh, consequently causing the ripples of laugher to increase in the audience.
The audience featured some heavyweight names in the world of British comedy. Frank Skinner, Rhys Thomas and Noel Fielding (along with his brother) were all spotted, showing what a broad influence these characters have.
"The man with a stick" and "Geordie Jeans" were my favourite sketches of the evening. Seeing Ulrika Jonsson in the video package a nice nod to work of theirs in the past. Indeed, the last act of the evening was the "Dove from Above" segment from Shooting Stars.
Monday, 15 February 2016
BBC 6 Music Festival. DAY THREE. Bristol. 12th - 14th February 2016.
The third and final day of proceedings at the 6 Music Festival was a bittersweet affair. I felt an element of sadness as the train pulled away from Temple Meads to Paddington on the Monday lunchtime.
The night before, there was much hooting and howling from all involved. The venue heaving to the rafters to see Foals in the main room at Motion.
The night before, there was much hooting and howling from all involved. The venue heaving to the rafters to see Foals in the main room at Motion.
Beforehand, we were treated to three different performers, showcasing a variety of talent on display. Frank Turner, ever the energetic crowd pleaser, had everyone's arms in the air. Polica rocked everyone's socks and ears off with ginormous bass lines. Everything Everything had everyone bouncing up and down to their unique razzmatazz.
Headliners Foals then launched into their set like a plane taking off. It was a thrilling adventure. Along with more recent numbers, older tracks like Olympic Airways and Two Steps Twice were utterly joyful to hear.
Motion is possibly one of the smallest venues that Foals will play to this year. Yannis Philippakis and the gang pumped out so much energy, and the crowd went nuts. Exuberance onstage, reflected by chaos offstage. A dramatic, fitting end to a superb weekend.
BBC 6 Music Festival. DAY TWO. Bristol. 12th-14th February 2016.
Arriving almost as soon as the doors opened, I made my way to the front of stage one. I wasn't the only one who had the same idea; by the time Roisin Murphy kicked off her early tea-time show, there was a packed crowd watching on in the main room at Motion.
Murphy's set was extraordinary. "Do you want to take a our relationship a little further, Bristol?" she asked, coyly, before a note was played. Through her personality and her witticism's she won everyone over immediately. Throughout the forty minutes, Roisin changes clothes continuously. This makes her act so compelling. "Will the REAL Roisin Murphy please make herself known?" she asked aloud between songs.
Her set comprised of many cuts from her most recent record Hairless Toys; an album which was nominated for the Mercury Prize in 2015. Gone Fishing and Unputdownable so subtle in delivery and yet so listenable. The opening number Dear Miami equally beguiling.
I think the minimalist aspect of Murphy's music is a joy. I cannot think of another artist making spacious records like Murphy at present. And yet Murphy continues to use those spaces. The lengthy silences at the beginning of Unputdownable create such suspense, alongside lengthy chords from her four piece band backing her. Murphy's drifting vocals almost acting like a lullaby. I will add that the best time to listen to Hairless Toys is just before bed.
Following Roisin Murphy, was Daughter. The lights dimmed, and there was a haunting echo. Deep blue lighting lit up the three-piece band. The spaciousness of Daughter's records also apparent live. In the track Numbers, there is reverberation that rocks the crowd. Lead singer Elena Tonra's "oh, oh, oh!" sounding duplicitous.
Daughter are compelling, with foreboding and hollow lyrics. Guitars are swapped frequently, enhancing a variety of sounds from a jangly guitar to a storming bass line. Tonra's vocals rise and fall above the drums throughout.
You can't dance to Daughter, but one must appreciate their heavy sound, and their moody atmospherics. This was a confident show from a band who have cut their teeth and are now starting to soar.
Murphy's set was extraordinary. "Do you want to take a our relationship a little further, Bristol?" she asked, coyly, before a note was played. Through her personality and her witticism's she won everyone over immediately. Throughout the forty minutes, Roisin changes clothes continuously. This makes her act so compelling. "Will the REAL Roisin Murphy please make herself known?" she asked aloud between songs.
Her set comprised of many cuts from her most recent record Hairless Toys; an album which was nominated for the Mercury Prize in 2015. Gone Fishing and Unputdownable so subtle in delivery and yet so listenable. The opening number Dear Miami equally beguiling.
I think the minimalist aspect of Murphy's music is a joy. I cannot think of another artist making spacious records like Murphy at present. And yet Murphy continues to use those spaces. The lengthy silences at the beginning of Unputdownable create such suspense, alongside lengthy chords from her four piece band backing her. Murphy's drifting vocals almost acting like a lullaby. I will add that the best time to listen to Hairless Toys is just before bed.
Following Roisin Murphy, was Daughter. The lights dimmed, and there was a haunting echo. Deep blue lighting lit up the three-piece band. The spaciousness of Daughter's records also apparent live. In the track Numbers, there is reverberation that rocks the crowd. Lead singer Elena Tonra's "oh, oh, oh!" sounding duplicitous.
Daughter are compelling, with foreboding and hollow lyrics. Guitars are swapped frequently, enhancing a variety of sounds from a jangly guitar to a storming bass line. Tonra's vocals rise and fall above the drums throughout.
You can't dance to Daughter, but one must appreciate their heavy sound, and their moody atmospherics. This was a confident show from a band who have cut their teeth and are now starting to soar.
BBC 6 Music Festival. DAY ONE. Bristol. 12th-14th February 2016
Sometimes being at a loose end can mean you can take advantage of opportunities in your calendar. This Valentine's weekend, I spontaneously decided to head to Bristol for the weekend, for a date with the BBC 6 Music Festival.
Situated next to the waterside in Bristol, is Motion; the centre of my universe for the next three nights. A dark basic venue, with the two music rooms separated by a food and drinks area. Two well-lit stages, and very accessible.
Warming up the crowd on the Friday evening was a dizzying tea-time performance by Savages. My abiding memory of this gig will be singer Jehnny Beth clambering over the crowd during her hair-raising rendition of "Husbands". Being so close to the front of the action, I found myself looking directly into the darting eyes of Jehnny as she delivered the chorus. Savages are good at whipping a crowd full of anticipation into a frenzy, Fay Milton's drum rhythms are so toxic that one cannot help but move. The same can be said of Ayse Hassan's bass riffs and Gemma Thompson's heavy guitar playing. It's a very tight organised sound; during "The Answer" there is a feeling of utter intensity. The newest addition to the set is the chilling "Adore life". It was so good I wanted the band to repeat it immediately.
Situated next to the waterside in Bristol, is Motion; the centre of my universe for the next three nights. A dark basic venue, with the two music rooms separated by a food and drinks area. Two well-lit stages, and very accessible.
Warming up the crowd on the Friday evening was a dizzying tea-time performance by Savages. My abiding memory of this gig will be singer Jehnny Beth clambering over the crowd during her hair-raising rendition of "Husbands". Being so close to the front of the action, I found myself looking directly into the darting eyes of Jehnny as she delivered the chorus. Savages are good at whipping a crowd full of anticipation into a frenzy, Fay Milton's drum rhythms are so toxic that one cannot help but move. The same can be said of Ayse Hassan's bass riffs and Gemma Thompson's heavy guitar playing. It's a very tight organised sound; during "The Answer" there is a feeling of utter intensity. The newest addition to the set is the chilling "Adore life". It was so good I wanted the band to repeat it immediately.
Reflecting upon this I caught the joyful !!! (Chk Chk Chk) in the second room, the amount of hands in the air and heads bobbing back and forward showing it was well received. Maybe not so well received was lead singer Nic Offer's shorts.
The act I was most excited to see was Yeasayer. Scheduled at 10:15 up against the vastly popular Primal Scream, meant a slightly smaller crowd than I anticipated. Yeasayer, with little fuss or pomposity, delved back in time to play from their back catalogue everything from "Henrietta" to "Ambling Alp", to "2080". This was a dream setlist from the four piece.
Singer Chris Keating is witty in between songs. I like his reluctance to play new material, however at one point he threatens to play Silly Me twice. Their hour set finishes with an unscheduled encore of Sunrise and Madder Red. Anand Wilder's bass notes sending me spiralling into a giddy paradise. The promise of new Yeasayer material in the next few months also exacerbating my giddiness.
As I leave the old venue (Yeasayer joked it reminded them of an abattoir) I realise I'm so glad to be returning the next day. The 6 Music Festival is off and running.
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About Me
- Rich
- I often think of odd things, then realise I need to write them down. I also never try to make a single person frown.