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. 

 

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.

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.

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. 

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. 

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. 

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.

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.

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.