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.
Tuesday, 22 September 2015
Monday, 24 August 2015
Anna Calvi. Meltdown Festival, Southbank Centre. Saturday 20th August 2015.
There aren't many occasions where I will shriek in sheer delight. However, when Anna Calvi was joined onstage by one of my heroes- about halfway through her hazy Summer evening set on the Southbank- I couldn't help myself.
I knew of the possibility- David's duet with Anna on the track Strange Weather- was good enough for me to sit with sheer anticipation until halfway through, when, dressed all in white, David took to the stage. This was also Byrne's curated festival. I couldn't miss this show.
If one was to take away the extra singers, take away David Byrne, take away her two percussive band-mates, you still would have a superstar on stage. Calvi and just a guitar is the real deal. Her lilting solo vocal version of No More Words sent the audience wild. Add the percussion to her songs, and it is wildly dramatic., Staple songs from her back catalogue like Desire, Blackout and Suddenly could only be performed by Calvi. The dramatic finale of Jezebel also remains the ultimate curtain call.
I knew of the possibility- David's duet with Anna on the track Strange Weather- was good enough for me to sit with sheer anticipation until halfway through, when, dressed all in white, David took to the stage. This was also Byrne's curated festival. I couldn't miss this show.
Anna Calvi needs no introduction to these blog pages. Tonight's set was so special. There was nothing timid about this showing, somewhat stripped back, sparse versions of tracks peppered her show. Backed by a striking crescent of a dozen singers, dressed head-to-toe in robes, this was a staggering visual and aural display.
If one was to take away the extra singers, take away David Byrne, take away her two percussive band-mates, you still would have a superstar on stage. Calvi and just a guitar is the real deal. Her lilting solo vocal version of No More Words sent the audience wild. Add the percussion to her songs, and it is wildly dramatic., Staple songs from her back catalogue like Desire, Blackout and Suddenly could only be performed by Calvi. The dramatic finale of Jezebel also remains the ultimate curtain call.
Wednesday, 29 July 2015
Badly Drawn Boy. Barbican Theatre. Monday 26th July 2015.
We're halfway through the decade, and we're not quite sure what we make of it. To make it even more complicated Damon Gough (aka Badly Drawn Boy) walks on stage to huge applause and plays an album in full that he first released in 2000, wearing probably the same clothes and hat as fifteen years ago.
By Jove, it sounds so fresh. The Hour of the Bewilderbeast is littered with forgotten guitar licks and hooks that cause the audience to yelp in surprise! The clanging chimes of track 4, Fall in a River caused many in the audience to splutter their teas across their knees- this song hasn't been played live for such a long time. And yet, this album was a Mercury Prize winner. It's now in the live arena where you understand why this piece of work is so acclaimed.
The second half of the show is dedicated to more familiar tunes, including a joyous rendition of Born in the UK. The show ends with Damon shaking hands with everyone on the front row; a "thank you for coming" gesture. The amount of people in the rows behind trying to join in with the hand shakes is a testament to how much this man matters. We're suddenly all back in the year 2000.
By Jove, it sounds so fresh. The Hour of the Bewilderbeast is littered with forgotten guitar licks and hooks that cause the audience to yelp in surprise! The clanging chimes of track 4, Fall in a River caused many in the audience to splutter their teas across their knees- this song hasn't been played live for such a long time. And yet, this album was a Mercury Prize winner. It's now in the live arena where you understand why this piece of work is so acclaimed.
That's what will make this show last long in the memory. Not many musicians can play their entire debut album fifteen years later to a seated Barbican crowd held in rapt attention.
The second half of the show is dedicated to more familiar tunes, including a joyous rendition of Born in the UK. The show ends with Damon shaking hands with everyone on the front row; a "thank you for coming" gesture. The amount of people in the rows behind trying to join in with the hand shakes is a testament to how much this man matters. We're suddenly all back in the year 2000.
Friday, 13 March 2015
Lost albums: Electric Soft Parade. Holes In the Wall. 2002
Electric Soft Parade's 2002 release Holes In the Wall is an album of sheer annoyance and frustration. I was in my mid-teens when I first heard this record, and I completely associated these sounds with my moods at the time.
Holes In the Wall has a certain thrust to it, which differs from most other albums of that era. I can remember thinking there was nothing quite like it in 2002, and I still can't quite pinpoint it to anything now. The two brothers who created it, played on it and sang it; Alex and Thomas White; are quite unique.
The glorious track to get the tempo raised is Empty at the End. This is sung with such alacrity that one can't quite help joining in. The enthusiastic tone is also repeated on the crashing There's a Silence. Many a time I've sung along at the top of my voice.
What happens next though, is quite alarming. The lengthening ending of Silent to the Dark to encapsulate a dream like ending sequence; with spacious digital drum beats and drifting vocals; completely throws the listener. When I first purchased this album, I used to skip this track. Having relistened, the better it is for being there. Nine minutes in length, it allows pause for thought- a half time break of an album.
The marvellously twisted Why Do You Try So Hard to Hate Me; a track again boasting a powerful volley of vocals across booming chorus lines; is the highlight of the second half. We wrap up with Biting the Soles of My Feet and Red Balloon For Me. The guitars and the electronic sounds matching the mood in the record. This is my go-to album whenever I have a moment of angst, the White brothers tend to know exactly how I feel.
Holes In the Wall has a certain thrust to it, which differs from most other albums of that era. I can remember thinking there was nothing quite like it in 2002, and I still can't quite pinpoint it to anything now. The two brothers who created it, played on it and sang it; Alex and Thomas White; are quite unique.
The glorious track to get the tempo raised is Empty at the End. This is sung with such alacrity that one can't quite help joining in. The enthusiastic tone is also repeated on the crashing There's a Silence. Many a time I've sung along at the top of my voice.
What happens next though, is quite alarming. The lengthening ending of Silent to the Dark to encapsulate a dream like ending sequence; with spacious digital drum beats and drifting vocals; completely throws the listener. When I first purchased this album, I used to skip this track. Having relistened, the better it is for being there. Nine minutes in length, it allows pause for thought- a half time break of an album.
The marvellously twisted Why Do You Try So Hard to Hate Me; a track again boasting a powerful volley of vocals across booming chorus lines; is the highlight of the second half. We wrap up with Biting the Soles of My Feet and Red Balloon For Me. The guitars and the electronic sounds matching the mood in the record. This is my go-to album whenever I have a moment of angst, the White brothers tend to know exactly how I feel.
Saturday, 24 January 2015
Kindness. Electric Brixton. Friday 16th January 2015.
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.
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.
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.
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