Kate Stables had a broken banjo so opted for the guitar for tonight.
Rozi Plain on bass offered such fantastic harmonies to Kate's lead vocals.
A drunk man staggered around right in front of the stage for almost the whole set.
It always looks so effortless. They all unlaced and took off their shoes. They all appeared to be so comfortable.
My favourite bits of This is the Kit shows are the silences when Kate is tuning her guitar; thus heightening the anticipation of what is to come.
Thursday, 26 April 2018
Thursday, 19 April 2018
Everything Everything. Gebaude 9. Cologne. Tuesday 17th April 2018.
This was a whizz-popping zinger of a show from Everything Everything in the back streets of Cologne. The four-piece have seemingly got a tighter sound as the years have gone on, and this is the best they've ever been.
With the latest album A Fever Dream fresh on the tip of their tongues, songs from it featured heavily througout. Desire was quite simply breathtaking here; a heart leaping bombastic joyride. Seventeen featured in total, including a reach back in time for Qwerty Finger and Kemosabe.
With no luminous orange jacket this time, Higgs was able to command freely around the stage, and there were plenty of times where Higgs loomed over the crowd in front of him; this small room giving ample opportunity to stare in to the whites of the eyes of every audience member watching on.
It went down so well. And with an encore of Breadwinner, Distant Past followed by No Reptiles it was a sure fire winning show.
With the latest album A Fever Dream fresh on the tip of their tongues, songs from it featured heavily througout. Desire was quite simply breathtaking here; a heart leaping bombastic joyride. Seventeen featured in total, including a reach back in time for Qwerty Finger and Kemosabe.
With no luminous orange jacket this time, Higgs was able to command freely around the stage, and there were plenty of times where Higgs loomed over the crowd in front of him; this small room giving ample opportunity to stare in to the whites of the eyes of every audience member watching on.
It went down so well. And with an encore of Breadwinner, Distant Past followed by No Reptiles it was a sure fire winning show.
Wednesday, 21 February 2018
Wild Beasts. Eventim Hammersmith Apollo. Saturday 17th February 2018.
Tom Fleming and Hayden Thorpe hugged tightly on the dimly lit stage for the final time and waved back at a crowd giving them a thunderous ovation. Finishing a setlist of songs from every album in their canon; this was their lot.
The Hammersmith Apollo the scene for this farewell gathering; concluding a very brief tour to say goodbye.
Talk Talk "It's a Shame" rung out as one of the final songs before the lights went down. End Come Too Soon was the penultimate song in the set, and was even printed on a t-shirt. The band's self awareness added to the sense of occasion.
It was a heartfelt, glorious, rabble rousing show. The quartet played the gig of their lives. A choir struck up with Cheerio Chaps as the encore. Hearing the ridiculous lyric "...and then I belly flop" sung by a twenty strong choir was joyful, and a reminder of how much joy they've given.
You were awesome, Wild Beasts.
***************
The Hammersmith Apollo the scene for this farewell gathering; concluding a very brief tour to say goodbye.
Talk Talk "It's a Shame" rung out as one of the final songs before the lights went down. End Come Too Soon was the penultimate song in the set, and was even printed on a t-shirt. The band's self awareness added to the sense of occasion.
It was a heartfelt, glorious, rabble rousing show. The quartet played the gig of their lives. A choir struck up with Cheerio Chaps as the encore. Hearing the ridiculous lyric "...and then I belly flop" sung by a twenty strong choir was joyful, and a reminder of how much joy they've given.
You were awesome, Wild Beasts.
***************
Saturday, 2 December 2017
Perfume Genius. Kulturkirche. Cologne. Monday 20th November 2017.
In a stunningly beautiful tall church in Cologne, Perfume Genius stepped out to perform a set matching the beauty of the venue.
Opening with Otherside, it's delicate then crashing juxtaposition, setting the tone for an extraordinary night. The performance from start to finish was breathless from lead singer Mike Hadreas, who swooned, posed and danced across the stage throughout. The rest of the band, all dressed in black, remained still. Backed by Alan Wyffles on keyboards stage right, and a guitarist and drummer stage left and back, the rest of the performance area belonged to Mike.
The performance of Wreath was such a joy. The track builds and builds, an elevating melody. Recently, Perfume Genius asked fans to send video clips of themselves dancing along to the song, and the compilation is the official video. It is a work of beauty.
There were so many moments where the audience could not take their eyes off Hadreas. Mike has such great positional sense. At one point between songs Mike jokes of his moves onstage: "it's likely to be more of a flail". The almost trademarked backwards lean, that adorned the cover of his new album Other Side, the perch on the edge of the stage, the crouch when delivering delicious lyrics: "each and every breath I spend, you are collecting".
Die 4 You was the showstopper of the night. A rendition that had the audience awestruck and on their feet at the end, outstanding in the church setting.
One minor incident was the sudden appearance of a lumbering sound technician on stage, who stepped out not once but twice when a microphone failed. Fortunately, Hadreas had such good grace that it was immediately forgotten. In an odd way, it gave extra zing to the next song.
What felt like almost as soon as it had begun, the encore. This featured a trip down memory lane to older Perfume Genius tracks. There were piano-led solo versions Mr Peterson, Hood and a wondrous cover version of Bright Eyes. Alan joining Mike on piano front of stage to perform Alan was also jaw-dropping.
Rounding out with the footstomper Queen, it was a night never to forget. Mike Hadreas left the stage first, leaving the band playing out and leaving the audience crying out for more.
Opening with Otherside, it's delicate then crashing juxtaposition, setting the tone for an extraordinary night. The performance from start to finish was breathless from lead singer Mike Hadreas, who swooned, posed and danced across the stage throughout. The rest of the band, all dressed in black, remained still. Backed by Alan Wyffles on keyboards stage right, and a guitarist and drummer stage left and back, the rest of the performance area belonged to Mike.
The performance of Wreath was such a joy. The track builds and builds, an elevating melody. Recently, Perfume Genius asked fans to send video clips of themselves dancing along to the song, and the compilation is the official video. It is a work of beauty.
There were so many moments where the audience could not take their eyes off Hadreas. Mike has such great positional sense. At one point between songs Mike jokes of his moves onstage: "it's likely to be more of a flail". The almost trademarked backwards lean, that adorned the cover of his new album Other Side, the perch on the edge of the stage, the crouch when delivering delicious lyrics: "each and every breath I spend, you are collecting".
Die 4 You was the showstopper of the night. A rendition that had the audience awestruck and on their feet at the end, outstanding in the church setting.
One minor incident was the sudden appearance of a lumbering sound technician on stage, who stepped out not once but twice when a microphone failed. Fortunately, Hadreas had such good grace that it was immediately forgotten. In an odd way, it gave extra zing to the next song.
What felt like almost as soon as it had begun, the encore. This featured a trip down memory lane to older Perfume Genius tracks. There were piano-led solo versions Mr Peterson, Hood and a wondrous cover version of Bright Eyes. Alan joining Mike on piano front of stage to perform Alan was also jaw-dropping.
Rounding out with the footstomper Queen, it was a night never to forget. Mike Hadreas left the stage first, leaving the band playing out and leaving the audience crying out for more.
Sunday, 2 July 2017
Something Like Happiness. The Maccabees. Alexandra Palace. Saturday 1st July 2017.
The Maccabees went out in a blaze of glory on Saturday night. At a packed Alexandra Palace, the venue shook to the rafters as the group said farewell and goodbye. On a balmy July evening, this was a roller-coaster of emotions.
Two bands; Idles and the Mystery Jets provided the warm up. In between tracks, Mystery Jets' frontman Blaine Harrison and guitarist William Rees - still wearing a winter jacket - took time to share their affection: "the Maccabees have inspired us so much" announced Blaine. This loving gesture was reciprocated in turn by singer Orlando Weeks during the headline set: "we'd like to thank the Mystery Jets, they've been the band we've always looked up to".
And what a joyous, heart-wrenching, sweaty and euphoric headline set it was. Guitarist Felix White's comments to Beats 1 beforehand summed up the general feeling around the gig: "Just because of the fact that it’s the end, it’s alleviated any of the previous tension that used to be around us and around gigs, because we always used to be trying to move somewhere or get better. These have just been a ‘let’s just celebrate how great we are’".
Celebrating by playing an array of songs from all four of their highly acclaimed albums, the Maccabees were in scintillating form. Delving into songs from the Wall of Arms catalogue, and scooping out tracks like Precious Time and Lego from their debut album Colour It In, this was a dream of a set-list.
This set spiralled at frantic pace from the rip-roaring to the delicate and bittersweet. Contrast the entire crowd bouncing up and down in unison to Can You Give It; to Hugo White's deft and touching vocals on Silence. Orlando did waver at times; stepping back from the microphone choked with emotion following a barnstorming rendition of Latchmere. Unable to speak, he bumped his chest hard with his fists, with stirring rabble-rousing cheers in reply.
There was also a super bass-heavy version of Forever I've Known, which elevated the show into the stratosphere. The celestial Grew Up at Midnight followed; before the perfect singalong finale Something Like Happiness. With the Mystery Jets re-appearing alongside Henry Harrison and the lesser spotted Jack Penate on guest vocals, I'll admit I was completely overwhelmed and I did have something in my eye. And no, it wasn't because of the vast amount of confetti raining down from above.
The encore featured a cameo from Jamie T on a lightning fast Marks to Prove It. There after was First Love, the song which poignantly made me fall in love with the band in the first place. At this point, I didn't want the set to end.
Felix was right; 'let’s just celebrate how great we are’ was the prevailing theme here. A huge "Thank you!" was written on a screen above them. When the band stepped forward to take their final almighty applause, there followed a moving crowd rendition of the chorus of Something Like Happiness. The band stood and watched on, breathless and speechless. And that moment will stay with me forever.
Two bands; Idles and the Mystery Jets provided the warm up. In between tracks, Mystery Jets' frontman Blaine Harrison and guitarist William Rees - still wearing a winter jacket - took time to share their affection: "the Maccabees have inspired us so much" announced Blaine. This loving gesture was reciprocated in turn by singer Orlando Weeks during the headline set: "we'd like to thank the Mystery Jets, they've been the band we've always looked up to".
And what a joyous, heart-wrenching, sweaty and euphoric headline set it was. Guitarist Felix White's comments to Beats 1 beforehand summed up the general feeling around the gig: "Just because of the fact that it’s the end, it’s alleviated any of the previous tension that used to be around us and around gigs, because we always used to be trying to move somewhere or get better. These have just been a ‘let’s just celebrate how great we are’".
Celebrating by playing an array of songs from all four of their highly acclaimed albums, the Maccabees were in scintillating form. Delving into songs from the Wall of Arms catalogue, and scooping out tracks like Precious Time and Lego from their debut album Colour It In, this was a dream of a set-list.
This set spiralled at frantic pace from the rip-roaring to the delicate and bittersweet. Contrast the entire crowd bouncing up and down in unison to Can You Give It; to Hugo White's deft and touching vocals on Silence. Orlando did waver at times; stepping back from the microphone choked with emotion following a barnstorming rendition of Latchmere. Unable to speak, he bumped his chest hard with his fists, with stirring rabble-rousing cheers in reply.
There was also a super bass-heavy version of Forever I've Known, which elevated the show into the stratosphere. The celestial Grew Up at Midnight followed; before the perfect singalong finale Something Like Happiness. With the Mystery Jets re-appearing alongside Henry Harrison and the lesser spotted Jack Penate on guest vocals, I'll admit I was completely overwhelmed and I did have something in my eye. And no, it wasn't because of the vast amount of confetti raining down from above.
The encore featured a cameo from Jamie T on a lightning fast Marks to Prove It. There after was First Love, the song which poignantly made me fall in love with the band in the first place. At this point, I didn't want the set to end.
Felix was right; 'let’s just celebrate how great we are’ was the prevailing theme here. A huge "Thank you!" was written on a screen above them. When the band stepped forward to take their final almighty applause, there followed a moving crowd rendition of the chorus of Something Like Happiness. The band stood and watched on, breathless and speechless. And that moment will stay with me forever.
Monday, 13 February 2017
Brushing your teeth
I don't know how I feel right now, in early February 2017.
A thought spilled over me while I was brushing my teeth before bed that I started the year with no parents. The two people who invested so much time, effort and love into me are gone. The two people who I adored, and whose advice I sought daily are no longer present. The two people who made me, and who wanted so much for me to succeed, are now just a series of memories.
I have lost my two biggest supporters. I looked in the mirror, toothbrush in hand, and thought: what on earth do I do now?
The person looking back at me is someone who I haven't seen before. Looking tired, drawn, lethargic. Shoulders sagging and slouched. What were those extra lines on the face? Messy features, unshaven, unkempt hair. A shipwreck of a person. The reflection matched how I felt; utterly dreadful.
Yet, an inner voice keeps telling me that I can do something about my appearance. That inner voice tells me I can get a good haircut and I can have a nice shave. The words inside my head press me to think that I can also do the littlest tasks to make me feel better. I can put fresh sheets on my bed and I can make myself smell nice. I can get out of bed and have a shower and at least begin the day; whatever a "day" is right now. I can set aside time for breakfast, lunch and dinner even though I'm hardly hungry; the inner voice reminds me that the world keeps turning and so to have some routine might be a start in tiptoeing back into the real world.
The rudimentary nature of brushing my teeth twice daily is the core of my routine. I have been able to do that, so therefore I believe I can start to do other things. As wishy-washy as I feel, this is my life right now.
I can do nothing about the reality that Dad died in December from cancer. I can do nothing about the reality that Mum died seven years ago from cancer. Facing up to this reality is not exactly something I want to do right now. It is a horror film that I do not wish to be a part of, but yet regretfully I am the star of the show. I was at the front of the funeral procession on the 28th December, the final scenes of a desperately sad film. Followed by a wake with people telling you how good Dad "was"; putting him in the past. It wasn't quite my idea of Christmas.
Feeling totally confused by what has happened; by focusing on my appearance and focusing on brushing my teeth, then at least I have a purpose. Somewhere in the depths of my psyche, I have an inner voice which is advising me to do this. The comforting thought is that this calming and soothing inner voice is most definitely the voice of my parents.
A thought spilled over me while I was brushing my teeth before bed that I started the year with no parents. The two people who invested so much time, effort and love into me are gone. The two people who I adored, and whose advice I sought daily are no longer present. The two people who made me, and who wanted so much for me to succeed, are now just a series of memories.
I have lost my two biggest supporters. I looked in the mirror, toothbrush in hand, and thought: what on earth do I do now?
The person looking back at me is someone who I haven't seen before. Looking tired, drawn, lethargic. Shoulders sagging and slouched. What were those extra lines on the face? Messy features, unshaven, unkempt hair. A shipwreck of a person. The reflection matched how I felt; utterly dreadful.
Yet, an inner voice keeps telling me that I can do something about my appearance. That inner voice tells me I can get a good haircut and I can have a nice shave. The words inside my head press me to think that I can also do the littlest tasks to make me feel better. I can put fresh sheets on my bed and I can make myself smell nice. I can get out of bed and have a shower and at least begin the day; whatever a "day" is right now. I can set aside time for breakfast, lunch and dinner even though I'm hardly hungry; the inner voice reminds me that the world keeps turning and so to have some routine might be a start in tiptoeing back into the real world.
The rudimentary nature of brushing my teeth twice daily is the core of my routine. I have been able to do that, so therefore I believe I can start to do other things. As wishy-washy as I feel, this is my life right now.
I can do nothing about the reality that Dad died in December from cancer. I can do nothing about the reality that Mum died seven years ago from cancer. Facing up to this reality is not exactly something I want to do right now. It is a horror film that I do not wish to be a part of, but yet regretfully I am the star of the show. I was at the front of the funeral procession on the 28th December, the final scenes of a desperately sad film. Followed by a wake with people telling you how good Dad "was"; putting him in the past. It wasn't quite my idea of Christmas.
Feeling totally confused by what has happened; by focusing on my appearance and focusing on brushing my teeth, then at least I have a purpose. Somewhere in the depths of my psyche, I have an inner voice which is advising me to do this. The comforting thought is that this calming and soothing inner voice is most definitely the voice of my parents.
Friday, 7 October 2016
Wild Beasts. The Roundhouse. Wednesday 5th October 2016.
Wild Beasts took to the Roundhouse stage on Wednesday evening, for the second of two nights at the iconic Camden venue. The band's fifth album arrived in August, a sharper, edgier sound to previous work.
"Who wants to hear a song that isn't about sex?" laughs lead singer Hayden Thorpe, aware of the libidinous nature of many of his songs. He saunters back and forward ominously on stage, yet always meticulous in delivery. Fellow singer Tom Fleming cuts a more formidable figure, and frankly is more fearsome beneath a baseball cap; during 2BU he arches forward with arms aloft, glaring into the crowd; all whilst delivering the chorus in his distinct deeper vocal.
Wild Beasts are untamed during a rip-roaring opening. New tracks Ponytail and He the Colossus have such an energetic zing which is sustained throughout. The two singles taken from the recent album Boy King; Get My Bang and Big Cat; nicely step into line with the same energy.
The tiptoe steps back into the archive are appreciated warmly too. The performance of Reach a Bit Further highlights the clear chemistry - and vocal distinction - between the two lead singers. In a track like Mecca, for example; whereas Thorpe opts for the higher falsetto register, it is the softer lilting backing of Fleming that enhances the sound.
This vocal harmony between the two protagonists is the real draw of Wild Beasts. Thorpe takes centre stage, with Fleming positioned right of centre. Sartorially speaking; it is a vest, jeans, high top trainers and a baseball cap for Tom Fleming, while Hayden chooses a t-shift beneath a smart sleeveless buttoned top. By far and away not a sophisticated look; they just about carry it off.
This is a captivating show. Lion's Share still sounds so good, Hayden's vocals are particularly mellifluous here, although one wanted them to immediately follow by launching straight into Bed of Nails - just like on the glorious Smother album. Hooting and Howling is ageless. Wanderlust is peerless. The finale All the Kings Men has everyone trying their best "watch me!" impressions.
Yet, even though one can clearly see a "wilder" edgier Wild Beasts blossoming; it is their elegant and refined melodies that remain everlasting.
"Who wants to hear a song that isn't about sex?" laughs lead singer Hayden Thorpe, aware of the libidinous nature of many of his songs. He saunters back and forward ominously on stage, yet always meticulous in delivery. Fellow singer Tom Fleming cuts a more formidable figure, and frankly is more fearsome beneath a baseball cap; during 2BU he arches forward with arms aloft, glaring into the crowd; all whilst delivering the chorus in his distinct deeper vocal.
Wild Beasts are untamed during a rip-roaring opening. New tracks Ponytail and He the Colossus have such an energetic zing which is sustained throughout. The two singles taken from the recent album Boy King; Get My Bang and Big Cat; nicely step into line with the same energy.
The tiptoe steps back into the archive are appreciated warmly too. The performance of Reach a Bit Further highlights the clear chemistry - and vocal distinction - between the two lead singers. In a track like Mecca, for example; whereas Thorpe opts for the higher falsetto register, it is the softer lilting backing of Fleming that enhances the sound.
This vocal harmony between the two protagonists is the real draw of Wild Beasts. Thorpe takes centre stage, with Fleming positioned right of centre. Sartorially speaking; it is a vest, jeans, high top trainers and a baseball cap for Tom Fleming, while Hayden chooses a t-shift beneath a smart sleeveless buttoned top. By far and away not a sophisticated look; they just about carry it off.
This is a captivating show. Lion's Share still sounds so good, Hayden's vocals are particularly mellifluous here, although one wanted them to immediately follow by launching straight into Bed of Nails - just like on the glorious Smother album. Hooting and Howling is ageless. Wanderlust is peerless. The finale All the Kings Men has everyone trying their best "watch me!" impressions.
Yet, even though one can clearly see a "wilder" edgier Wild Beasts blossoming; it is their elegant and refined melodies that remain everlasting.
Wednesday, 17 August 2016
Roisin Murphy. Shakespeare's Globe Theatre. Monday 15th August 2016.
Sensational set from Roisin Murphy at a stunning venue. The first ever live electronic gig at the Shakespeare Globe on South Bank, and my oh my she pulled it off.
Appearing as Lauren Laverne's final act of her Wonder Women curated series of shows hosted at the Globe, this was where Murphy shone brightly beneath a full Shakespearean moon.
"Who's playing tonight? Othello? Midsummer Night's Dream? Nikki Murphy's daughter?" Roisin asked at one point during proceedings. You could tell how much Roisin loved being on that stage; even though the Globe has no roof, it felt very intimate.
Starting off with Mastermind, and playing songs from Hairless Toys like Gone Fishing and Evil Eyes, this was a set that had everyone toe-tapping, clapping and thigh slapping.
In between tracks, we were treated to verses of Shakespeare; her introduction to Ten Miles High included a thrilling mashup of a Shakespeare quote and the Irish classic (and title of her latest album) Take Her Up to Monto.
There were songs in Italian, there were songs from her Moloko era, there were constant costume changes; the crowd lapping up every second. This was exhilarating, this was exciting, this was an - I'm not sure what is going to happen next - kind of set. This was the best of Roisin Murphy.
Appearing as Lauren Laverne's final act of her Wonder Women curated series of shows hosted at the Globe, this was where Murphy shone brightly beneath a full Shakespearean moon.
"Who's playing tonight? Othello? Midsummer Night's Dream? Nikki Murphy's daughter?" Roisin asked at one point during proceedings. You could tell how much Roisin loved being on that stage; even though the Globe has no roof, it felt very intimate.
Starting off with Mastermind, and playing songs from Hairless Toys like Gone Fishing and Evil Eyes, this was a set that had everyone toe-tapping, clapping and thigh slapping.
In between tracks, we were treated to verses of Shakespeare; her introduction to Ten Miles High included a thrilling mashup of a Shakespeare quote and the Irish classic (and title of her latest album) Take Her Up to Monto.
There were songs in Italian, there were songs from her Moloko era, there were constant costume changes; the crowd lapping up every second. This was exhilarating, this was exciting, this was an - I'm not sure what is going to happen next - kind of set. This was the best of Roisin Murphy.
Monday, 25 July 2016
Iain Lee's Late Night Radio Show
On Monday March 21st 2016 at 22:00, Iain Lee introduced his Late Night Radio show on Talk Radio for the first time.
Produced by Katherine Boyle and presented by Iain Lee, these three-hours every weeknight tackle the zeitgeist head-on. Usually, there isn't a zeitgeist in sight, or even a topic; nor an on-going thread of conversation. Iain starts with a song followed by an entire blank canvas, thus allowing the callers to create themes and a sense of direction with their words. This is a phone-in show, but not as we know it.
There are pauses for reflection, and the workings are revealed to us, as the listener. With the invention of Periscope we have even further access; a camera broadcasts the scene from inside the studio.
This is an emotional roller-coaster of a show. Alan Caddick explaining why he was only quickly drawing on a cigarette because it meant he would "get less cancer" made me laugh like a drain. Katia's moving story about her father made me cry. When Russ started talking one night about CB radios, you could hear the sheer joy in his voice.
Special guests like computer expert Stephen Murdoch have made brief appearances; although Stephen wasn't able to help with any of the tricky technical issues raised to him by the callers, a real disappointment.
Barry from Watford has also popped up; one time he was notably unhappy with the presenter's critique of the recent Dad's Army film: "where do you get off slagging off Dad's Army?!" he complained. "People like you, are enemies of this country" he continued.
Nigel from Maidstone regularly updates us on the latest celebrity news. On occasions, he has been allowed to sing a song. "Lindsay Lo-horn" featuring backing vocals by Iain and Rob Burnett was a real treat.
The age profile of people joining-in ranges from eight to ninety. You have Dennis from Dunstable, Manny, Hugo Peters, Youtuber Sam and Anna/Hannah as the more regular speakers. There is a slightly higher ratio of male to female callers, yet I like how attempts have been made to redress the balance, with "female callers only" and "new people only" evenings. Katherine often joins Iain in the studio and adds an extra dimension of humour.
Interviews with guests also are a special part of the show, I loved hearing from the likes of Viv Albertine, Rhys Thomas and Andy Partridge. They help to draw in a wider crowd.
Highlights of the four months so far include a wonderful moment where non-football fan Iain calls into sister station Talk Sport to argue with Andy Goldstein and Jason Cundy, as angry Manchester City fan Dave. "Where's the other muppet Goldstein?!" Both Talk Sport presenters falling hook, line and sinker for the prank call.
The evening where Iain egged on a married couple to have sex following a late night decorating session; the time a young farmer explained the strained relationship with his wife; the occasion Iain randomly called Sweden; or the time we were all encouraged to 'love-bomb' Gina on Periscope; these are times when gold dust sprinkles out from the radio.
Silence is used to perfection by Iain. There are times when I am completely stopped in my tracks, unable to move until I hear what happens next. When a caller phoned in during the first week feeling suicidal, Iain took time out to listen to her. It was groundbreaking radio - something I've never heard before. Iain is equally open with his own feelings, and this I feel is part of the magic. Mental health is stigmatised in the media and is seen as taboo in British culture, but it is one of the most talked about subjects on the show.
One of the greatest nights was when Mr Ethical (Nicholas Wilson) called in, frustrated at a cover-up in the media. With tension palpable during the conversation, Nicholas promptly swore twice at Iain in quick succession, causing the presenter to "double dump" the offending words spoken.
Upon kindly allowing Nicholas back on, the discussion turned to mental health. Nicholas took part in this, albeit in a terse mood, and it was compelling unmissable radio.
On Friday evening a similar moment occurred. "Stuggy" phoned in, sounding extremely drunk after midnight. Suddenly we could hear a young child's voice in the background. Silence met the airwaves.
It was a clunky gear-change, something which happens often throughout the three hours. Iain's immediate denouncement of "Stuggy" and statement to not condone what was going on was a heart-in-mouth moment. It was dealt with excellently.
One night, Barry from Watford had a plea: "I want to talk about the Brexit. Brushing the Brexit? Tickling the exit?" In fact, current affairs and news stories are overlooked for juicier topics like "WPYKOO (Weirdest place you knocked one out?)" or "Can you lipread cartoons?".
I do however wish the news wasn't present at the top of every hour. A real vibe is garnered from the continual flow of calls throughout the evening, and the news bluntly pierces the mood.
Where's long lost Pitcher Phil and his American Football updates instead? Can they play the Littlest Hobo theme tune over the top perhaps? Maybe the answerphone messages? Instead of the news, can we have Jonathan from Swansea tell us his thoughts on another film he hasn't watched? Actually, I think I'd prefer the news in that last example.
Rather like The Unexplained with Howard Hughes on Sundays on Talk Radio, I feel Iain Lee's Late Night Radio show warrants a similar title. I have written nearly nine hundred words here and it really doesn't scratch the surface of what this is about.
You simply don't know what you're going to be tuning into each time. It is addictive radio, which I adore. If you're a listener you're a welcome part of the gang. All you need is the phone number to join in: 0844 499 1000. Cue Caddick: "we call you back". Hip hip hip.
Produced by Katherine Boyle and presented by Iain Lee, these three-hours every weeknight tackle the zeitgeist head-on. Usually, there isn't a zeitgeist in sight, or even a topic; nor an on-going thread of conversation. Iain starts with a song followed by an entire blank canvas, thus allowing the callers to create themes and a sense of direction with their words. This is a phone-in show, but not as we know it.
There are pauses for reflection, and the workings are revealed to us, as the listener. With the invention of Periscope we have even further access; a camera broadcasts the scene from inside the studio.
This is an emotional roller-coaster of a show. Alan Caddick explaining why he was only quickly drawing on a cigarette because it meant he would "get less cancer" made me laugh like a drain. Katia's moving story about her father made me cry. When Russ started talking one night about CB radios, you could hear the sheer joy in his voice.
Special guests like computer expert Stephen Murdoch have made brief appearances; although Stephen wasn't able to help with any of the tricky technical issues raised to him by the callers, a real disappointment.
Barry from Watford has also popped up; one time he was notably unhappy with the presenter's critique of the recent Dad's Army film: "where do you get off slagging off Dad's Army?!" he complained. "People like you, are enemies of this country" he continued.
Nigel from Maidstone regularly updates us on the latest celebrity news. On occasions, he has been allowed to sing a song. "Lindsay Lo-horn" featuring backing vocals by Iain and Rob Burnett was a real treat.
The age profile of people joining-in ranges from eight to ninety. You have Dennis from Dunstable, Manny, Hugo Peters, Youtuber Sam and Anna/Hannah as the more regular speakers. There is a slightly higher ratio of male to female callers, yet I like how attempts have been made to redress the balance, with "female callers only" and "new people only" evenings. Katherine often joins Iain in the studio and adds an extra dimension of humour.
Interviews with guests also are a special part of the show, I loved hearing from the likes of Viv Albertine, Rhys Thomas and Andy Partridge. They help to draw in a wider crowd.
Highlights of the four months so far include a wonderful moment where non-football fan Iain calls into sister station Talk Sport to argue with Andy Goldstein and Jason Cundy, as angry Manchester City fan Dave. "Where's the other muppet Goldstein?!" Both Talk Sport presenters falling hook, line and sinker for the prank call.
The evening where Iain egged on a married couple to have sex following a late night decorating session; the time a young farmer explained the strained relationship with his wife; the occasion Iain randomly called Sweden; or the time we were all encouraged to 'love-bomb' Gina on Periscope; these are times when gold dust sprinkles out from the radio.
Silence is used to perfection by Iain. There are times when I am completely stopped in my tracks, unable to move until I hear what happens next. When a caller phoned in during the first week feeling suicidal, Iain took time out to listen to her. It was groundbreaking radio - something I've never heard before. Iain is equally open with his own feelings, and this I feel is part of the magic. Mental health is stigmatised in the media and is seen as taboo in British culture, but it is one of the most talked about subjects on the show.
One of the greatest nights was when Mr Ethical (Nicholas Wilson) called in, frustrated at a cover-up in the media. With tension palpable during the conversation, Nicholas promptly swore twice at Iain in quick succession, causing the presenter to "double dump" the offending words spoken.
Upon kindly allowing Nicholas back on, the discussion turned to mental health. Nicholas took part in this, albeit in a terse mood, and it was compelling unmissable radio.
On Friday evening a similar moment occurred. "Stuggy" phoned in, sounding extremely drunk after midnight. Suddenly we could hear a young child's voice in the background. Silence met the airwaves.
It was a clunky gear-change, something which happens often throughout the three hours. Iain's immediate denouncement of "Stuggy" and statement to not condone what was going on was a heart-in-mouth moment. It was dealt with excellently.
One night, Barry from Watford had a plea: "I want to talk about the Brexit. Brushing the Brexit? Tickling the exit?" In fact, current affairs and news stories are overlooked for juicier topics like "WPYKOO (Weirdest place you knocked one out?)" or "Can you lipread cartoons?".
I do however wish the news wasn't present at the top of every hour. A real vibe is garnered from the continual flow of calls throughout the evening, and the news bluntly pierces the mood.
Where's long lost Pitcher Phil and his American Football updates instead? Can they play the Littlest Hobo theme tune over the top perhaps? Maybe the answerphone messages? Instead of the news, can we have Jonathan from Swansea tell us his thoughts on another film he hasn't watched? Actually, I think I'd prefer the news in that last example.
Rather like The Unexplained with Howard Hughes on Sundays on Talk Radio, I feel Iain Lee's Late Night Radio show warrants a similar title. I have written nearly nine hundred words here and it really doesn't scratch the surface of what this is about.
You simply don't know what you're going to be tuning into each time. It is addictive radio, which I adore. If you're a listener you're a welcome part of the gang. All you need is the phone number to join in: 0844 499 1000. Cue Caddick: "we call you back". Hip hip hip.
Thursday, 16 June 2016
Connan Mockasin. Meltdown Festival, Royal Festival Hall. Wednesday 15th June 2016.
There's nothing quite like a Connan Mockasin concert. The performance is unique, unforgettable, unfathomable and unlike anything else you will see at the Royal Festival Hall this week, or any week.
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.
Tuesday, 15 December 2015
Benjamin Clementine. Church of St John at Hackney. Monday 7th November 2015.
It is Monday 7th December 2015. It is also Benjamin Clementine's twenty-seventh birthday. Tonight, there was no doubt that his star quality shone brightly. At the Church of St John at Hackney, Clementine oozes all manner of showmanship and effervescence. It is a very simple stage set up. Clementine sits side on to the audience, so you can see his bare feet and also his hands moving ferociously at the keys on the piano.
Facing him is his drummer, who he is in synchronisation with during all percussion based tracks. Halfway through the set, a cellist appears and sits in the middle of the stage joining in most notably on the barnstorming duo of Nemesis and Condolence.
This is a set full of confidence; well, at least during the performance of the songs. In between Benjamin reverts to being so softly spoken that he is almost indecipherable. Yet, this contrast adds to his allure. He draws you in to listen so intently, that you are hooked on every breath. In Cornerstone, his rhythmic breathing adds a dimension to the vocals alongside the lyrics.
Facing him is his drummer, who he is in synchronisation with during all percussion based tracks. Halfway through the set, a cellist appears and sits in the middle of the stage joining in most notably on the barnstorming duo of Nemesis and Condolence.
This is a set full of confidence; well, at least during the performance of the songs. In between Benjamin reverts to being so softly spoken that he is almost indecipherable. Yet, this contrast adds to his allure. He draws you in to listen so intently, that you are hooked on every breath. In Cornerstone, his rhythmic breathing adds a dimension to the vocals alongside the lyrics.
Most of the acclaimed 2015 Mercury Award winning album is played during the set. Buoyed on by a new fan-base, and a crowd singing a spontaneous rendition of "happy birthday", it is clear he has no shortage of supporters. And with plenty of heads turned in Clementine's direction, it'll be fascinating to see what happens next in his upwardly moving career. At least for now, his adios is greeted with rapturous applause.
Monday, 23 November 2015
Everything Everything. Brixton Academy. Friday 20th November 2015.
"You know when they say you've made it? Well, tonight, I think we made it!" announced Everything Everything lead singer Jonathan Higgs during their euphoric encore. On Friday evening, Everything Everything elevated themselves into the stratosphere. This was their first ever headline show at the Brixton Academy, and they totally pulled it off.
Most impressive was the feature of audience participation, from a mixed demographic of fascinated shouty youngsters to ageing rockers. This is the key to Everything Everything's success. The cryptic lyrics are instantly memorable. You don't tend to forget "Gorilla, limb, swipe and beat!" or "Yeah, so, um, wait a second!" The poppy uplifting Spring, Sun, Winter, Dread from the latest record also has the wonderful Peter Pan-like words: "I don't want to get older, no way!"
Higgs' lyrics are mostly riddles with bleak undertones, yet riddles with bleak undertones that you can sing to a sell out London crowd. It remains utterly unique. The lighting is fairly drastic too; at times there a huge silhouettes on the wall behind them, at other times they are suddenly cast aglow all in red.
The set comprised songs from their current album Get To Heaven, alongside a selection of tunes from their previous two records; Arc, and their critically acclaimed debut Man Alive. This was in effect a "Greatest Hits" show, with an emphasis on the more recent. For example, there was a back to back double header of Get to Heaven album tracks Fortune 500 and The Wheel; both performed with such gusto.
This show had bag fulls of energy. Bass player Jeremy Pritchard and guitarist Alex Robertshaw remain fairly still in equal positions either side of Higgs, who catches the eye by darting across the stage to sing to various parts of the audience. Wearing a sweeping quiff from left to right -almost akin to the hair of Mike Score from A Flock of Seagulls - and a striking grey tunic - almost akin to an office cleaner - one can't help think this is where he got the inspiration. A few years ago the band took to wearing boiler suits onstage, again the theme a little unclear.
Ultimately, it didn't matter. The set was a stunner in terms of power and dance-ability, reaching a peak for the finale. The encore of My Kz, Ur Bf, No Reptiles and the final track Distant Past caused chaos in the standing section, with people, drinks, clothes, limbs, everything (everything) flying everywhere in delight. Yes Jonathan, you've made it.
Most impressive was the feature of audience participation, from a mixed demographic of fascinated shouty youngsters to ageing rockers. This is the key to Everything Everything's success. The cryptic lyrics are instantly memorable. You don't tend to forget "Gorilla, limb, swipe and beat!" or "Yeah, so, um, wait a second!" The poppy uplifting Spring, Sun, Winter, Dread from the latest record also has the wonderful Peter Pan-like words: "I don't want to get older, no way!"
Higgs' lyrics are mostly riddles with bleak undertones, yet riddles with bleak undertones that you can sing to a sell out London crowd. It remains utterly unique. The lighting is fairly drastic too; at times there a huge silhouettes on the wall behind them, at other times they are suddenly cast aglow all in red.
The set comprised songs from their current album Get To Heaven, alongside a selection of tunes from their previous two records; Arc, and their critically acclaimed debut Man Alive. This was in effect a "Greatest Hits" show, with an emphasis on the more recent. For example, there was a back to back double header of Get to Heaven album tracks Fortune 500 and The Wheel; both performed with such gusto.
This show had bag fulls of energy. Bass player Jeremy Pritchard and guitarist Alex Robertshaw remain fairly still in equal positions either side of Higgs, who catches the eye by darting across the stage to sing to various parts of the audience. Wearing a sweeping quiff from left to right -almost akin to the hair of Mike Score from A Flock of Seagulls - and a striking grey tunic - almost akin to an office cleaner - one can't help think this is where he got the inspiration. A few years ago the band took to wearing boiler suits onstage, again the theme a little unclear.
Ultimately, it didn't matter. The set was a stunner in terms of power and dance-ability, reaching a peak for the finale. The encore of My Kz, Ur Bf, No Reptiles and the final track Distant Past caused chaos in the standing section, with people, drinks, clothes, limbs, everything (everything) flying everywhere in delight. Yes Jonathan, you've made it.
Tuesday, 10 November 2015
Joanna Newsom. Eventim Apollo. Monday 9th November 2015.
From the first harp note to the last, Joanna Newsom performed a stellar set at the Eventim Apollo on this November evening.
Newsom was backed here by a terrific interchanging three piece band, including her older brother Peter on drums. It helped add to the closeness of the gig. This felt like Joanna letting you in to watch her play in the front room of her house. Early into the gig she asked if someone backstage could shine a bigger, bolder, brighter light onto her harp strings; the stage almost being too intimate and close.
The set featured a number of tracks from the latest album, Divers, alongside older well-received songs like Soft as Chalk and Emily. Highlights of the evening included a stunning performance of the title track from the last album Have One On Me; a song rising and falling in beats, vocals and time signatures. This theme continues on the latest record with Sapokanikan; a woozy tale of the lost artists' district in Washington. Nods of appreciation must also go to the upbeat keyboard-led Goose Eggs and the repetitive harp pattering rhythms of Time, As A Symptom.
There was a minor hiccup when Joanna forgot a line in the middle of Have One On Me, explaining afterwards with a smile that "there's always one old song that catches me out, sorry!" Her humility and joyfulness met by thunderous applause throughout the show.
The encore of Baby Birch and Peach, Plum, Pear was greeted with sheer delight from the enthusiastic audience. The delicacy of the performance, the intricacies of the notes and the depth of the lyrics held the crowd in rapt attention. There are so many nuances to the records that it almost seems impossible to pull it off, yet Joanna manages it.
Newsom was backed here by a terrific interchanging three piece band, including her older brother Peter on drums. It helped add to the closeness of the gig. This felt like Joanna letting you in to watch her play in the front room of her house. Early into the gig she asked if someone backstage could shine a bigger, bolder, brighter light onto her harp strings; the stage almost being too intimate and close.
The set featured a number of tracks from the latest album, Divers, alongside older well-received songs like Soft as Chalk and Emily. Highlights of the evening included a stunning performance of the title track from the last album Have One On Me; a song rising and falling in beats, vocals and time signatures. This theme continues on the latest record with Sapokanikan; a woozy tale of the lost artists' district in Washington. Nods of appreciation must also go to the upbeat keyboard-led Goose Eggs and the repetitive harp pattering rhythms of Time, As A Symptom.
There was a minor hiccup when Joanna forgot a line in the middle of Have One On Me, explaining afterwards with a smile that "there's always one old song that catches me out, sorry!" Her humility and joyfulness met by thunderous applause throughout the show.
The encore of Baby Birch and Peach, Plum, Pear was greeted with sheer delight from the enthusiastic audience. The delicacy of the performance, the intricacies of the notes and the depth of the lyrics held the crowd in rapt attention. There are so many nuances to the records that it almost seems impossible to pull it off, yet Joanna manages it.
Tuesday, 22 September 2015
Morrissey. Eventim Apollo. Monday 21st September 2015
I am going to write about Morrissey's set at the Eventim Apollo on my birthday, but I have no time. Here's some thoughts in a nutshell.
-He played a version of Speedway with the final chorus sung by his band member in Spanish.
-He asked a crowd member where he could buy vegan Wagon Wheels.
-He also played rarities from the Swords album, Ganglord and the delightful My Dearest Love.
-The Meat is Murder film to accompany the song is still shocking.
-The Apollo was packed to the rafters to witness this.
A great birthday set. I'm going on holiday tomorrow, so need to pack. I will see you in far-off places.
-He played a version of Speedway with the final chorus sung by his band member in Spanish.
-He asked a crowd member where he could buy vegan Wagon Wheels.
-He also played rarities from the Swords album, Ganglord and the delightful My Dearest Love.
-The Meat is Murder film to accompany the song is still shocking.
-The Apollo was packed to the rafters to witness this.
A great birthday set. I'm going on holiday tomorrow, so need to pack. I will see you in far-off places.
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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.