I arrived at the Bello Bar a little early, just before a queue formed that stretched all around the corner of the Lower Deck – the Portobello pub that houses this cool venue in its basement. I had come to this show because I knew I liked the support act and I was curious about the headliners. The majority of the folks queueing were presumably already aware of the brilliance of Anna & Elizabeth.
I first became aware of Sam Carter via his role in folk- rock (although a better description is probably rock-folk) band False Lights and their 2016 album 'Salvor'. False Lights headlined the final night at this year's Derby Folk Festival and based upon that performance I bought a ticket for tonight's solo show.
Whilst False Lights make have a great time electrifying, (or electrocuting) a number of trad. folk tunes tonight Sam who was named Best Newcomer at the 2010 Radio2 Folk Awards is flying solo playing tracks from his latest album 'How The City Sings'. The album reflects on his 10 year relationship with London, the city he recently left for the folkie-friendly city of Sheffield.
I still have a really fond but increasingly distant memory of the first time I saw tonight's headliners. It was 1987 at Wembley Stadium where they were one of the supports for a four piece band from Dublin who were on a World tour promoting their latest album which had sold in inexplicably huge quantities, but that day The Pretenders blew them off stage. They were a more engaging band, with a better lead performer and had the better songs. So it was surprising that it's taken me 30 years to catch up with The Pretenders live (the other lot I never bothered with again).
When I saw this concert advertized I immediately decided I wanted to go. I am a huge Bruce Springsteen fan plus a great admirer of Liam Ó Maonlaí, who is best known as the singer of the Hothouse Flowers, but who is an über-talented and versatile musician. Whatever he is involved in is worth hearing. Liam is a an Irish speaker, which made him the perfect choice to front this show.
When this tour was first announced, the thought of Nick Cave & The Bad Seeds playing in arenas was off-putting to say the least. Years and years of fabulous shows in theatres has meant an intimacy with this man’s music which, would surely be lost in the vastness of an arena.
“Music Network tours are like Big Brother for musicians”, says Jarlath Henderson, one third of this organisation's latest experiment. I have written on here before about Music Network. They invite musicians who do not normally play together to develop a show, which they then get to perform in some of the nicest theatres across Ireland. Sometimes the end result is not greater than the sum of its parts, but mostly it is.
Damien Dempsey and Lankum - two of the most Dublin of acts playing on a summer's evening in the Iveagh Gardens in the city centre: An opportunity not to be missed. The concert was part of a series of summertime concerts put on by Aiken Promotions at this great location. The number of shows seems to increase year on year. Keep 'em coming guys!
When it comes to Lankum I am biased. I happen to think they are the best band in Ireland (read my previous review), but Damo's fans appeared swiftly won over too. The band recently underwent a name change. They were Lynched, named after the band's brothers Ian and Daragh Lynch. They became uncomfortable with the name, particularly when playing in the U.S. "We will not continue to work under our current name while the systematic persecution and murder of Black people in the USA continues", read their official statement. Their new name is Lankum, which comes from the Irish Traveller ballad 'False Lankum'. The transitional period has now passed and no reference was made to it during the show.
Their time slot was short and they made the most of it, curtailing the banter somewhat. They opened with 'Sergeant William Bailey'. Radie Peat impressed with her vocal turn on 'What Will We Do When We Have No Money', and their four part harmonies were particularly powerful on 'The Peat Bog Soldiers'. I am hoping that these songs will be on the band's second album, the completion of which was recently announced eloquently on Twitter with the words "In the fucking bag, bitches".
'The Irish Jubilee', a wordy vaudeville song about food, was preceded by the band throwing fruit and chocolate bars into the audience. I heard the song before but this time I actually managed to catch all the words (all 10,000 of them...). Their masterpiece 'Cold Old Fire' remains a highlight and they finished of with 'The Old Man From Over The Sea', no doubt having gained new fans.
For Damien Dempsey this was his first hometown show since the release of his latest album 'Soulsun' (review here) Damien has had to postpone UK dates in May due to a nose operation ("me septum's as bent as the back roads of Finglas", as per his website). Thankfully he appeared in fine form and good voice and he had his stellar band with him, which includes long time producer John Reynolds on drums, musical maestro Éamonn de Barra on flute and whistle, and Pauline Scanlon on backing vocals. Unfortunately Pauline's voice got buried in the mix, from where I stood anyway.
I am an old-fashioned music fan who wants to hear new music at a concert, but the reality nowadays is that crowds demand to be pleased and hits must be played. This is no hardship as Damien has a great catalogue and the entire gig was excellent, however I would have liked to have heard more from 'Soulsun'. The title track was played - and well received - plus 'Pretty Bird Tree', 'Simple Faith' and the standout track from the album, 'Soft Rain', an ode to Dublin. I noticed people around me rapping along word for word to that song's spoken word verses. Damien is planning a full Irish tour later on in the year, so hopefully he will play more from the new album then.
Other highlights were 'Chris and Stevie' from the 'Almighty Love' album (a tale about suicide, still very relevant), 'The rocky road to Dublin' (I just love his version) and 'Patience' (such a nice melody). The singalongs were massive, as were the "Damo-o-oh" chants any time it got quiet in between songs.
It was a proper long gig too, with a cover of the Pogues' ' Rainy Night In Soho' and Damien's biggest hit 'It's All Good' for encores. And the party continued on into the night, with people singing "Love yourself today, okay" in the streets as they left. Happy days.
On Saturday 22 July 2017 The Joshua Tree returned to Croke Park. I saw the original Joshua Tree tour at Wembley and was too far back to really enjoy it back then. That was in the days when bands just played stadiums, rather than putting on a show designed for a large venue. U2 have now become the masters of the stadium show. There is no one like them in this regard – beautiful visuals, really imaginative use of the screens.
My ticket was for the back part of the field, i.e. not the front pit. I got almost as good a spot as I could with that (three rows from the dividing barrier), which was okay. Would have preferred to have been nearer.
Noel Gallagher's High Flying Birds were very disappointing. I like Noel. In interviews he comes across as really nice, and he is very witty. He has written all these great songs, but he is no frontman and only an average singer. In the Liam versus Noel battle it is 1-0 for Liam this summer. If only they could patch up their differences... Noel played 'Wonderwall' and 'Don't Look Back In Anger' and it sounded strangely flat. I was dutifully singing along but not enjoying it.
I had been to a wonderful gig the previous night (Damien Dempsey and Lankum) and wondered if this event perhaps was not going to live up to that. But then a magical moment came.
I had purposely avoided reading reviews or looking at clips of the Joshua Tree tour. I knew U2 were going to play the album, but I did not really know about the rest of the show. Suddenly 'The Whole Of The Moon' blasted out of the PA and all of Croke Park sang along. My mood switched instantly. On the last tour U2 had 'People Have The Power' as their walk on song, so my beloved Waterboys are in the best company.
U2 opened with 'Sunday Bloody Sunday'. They played four songs on the smaller podium that extended into the pit, just them playing, with no special effects. Of course one of the most endearing things about U2 is that it is always just the four of them, no additional musicians. 'New Year's Day', 'Bad' and 'Pride (In The Name Of Love') followed. Not a bad opening section.
They moved to the main stage for the actual performance of the Joshua Tree itself and this is when the extravaganza started. Just as 'Where The Streets Have No Name' kicked in, four planes with smoke trails in the colour of the Irish flag flew over the stadium. It was as if they had shot up from the stage. An incredible moment – hard to describe.
The band played in front of a gigantic LED screen on which stunning images were shown, bright and laser sharp. These were shot by Anton Corbijn (which Bono mispronounced as Corbyn; surely he knows Anton long enough to be able to pronounce his name correctly?!). I would love to see these videos again actually. This is the thing with U2 shows: So much happens at once that you do not know where to look. I have DVDs of the '360' and 'Innocence And Experience' tours, but you cannot really capture on DVD what it is like to be there, 'in' the show as it were.
I never actually owned a copy of the Joshua Tree album, so I had a vague idea that I would not know the non-single tracks terribly well, and so it was. Bono specifically welcomed us to side two of the album, and for me that was the best part: Songs that I had not really listened to in great detail before, accompanied by amazing footage: 'Red Hill Mining Town', 'Trip Through Your Wires', 'One Three Hill', 'Exit', fabulous stuff.
There was an enormous ovation when the album finished, followed by a short break. The band returned and the last part of the show was triumphant. Bono talked quite a bit, plugging the ONE campaign, thanking their crew and mentioning what it meant for them to play Croke Park. All the band seemed quite emotional at stages.
'Miss Sarajevo' was accompanied by images of a Syrian refugee camp. This was shot by a French artist at a camp in Jordan and was so compelling that I had to stop watching the band. During 'Ultra Violet (Light My Way)' the screens showed images of pioneering women, politicians, writers, activists, but also Sister Rosetta Tharpe, Patti Smith, Grace Jones and Poly Styrene, all of whom of course inspired U2 in their early days. The roll call also included MP Jo Frost and captain Dara Fitzpatrick.
Unlike some, I am also a fan of U2s later work, and for me 'Elevation' and 'Vertigo' were standouts. To prove they are not a heritage act, they finished with an excellent new song, 'The Little Things That Give You Away'. Full marks for another superb show. I guess like many who attended, I will be playing all my U2 albums today.
Side note: I was standing near the barrier on “Edge's side”, but also close to the VIP section. During Noel's drab set everybody in my area got involved in celebrity spotting. I saw Leo Varadkar, John Rocha, Ali Hewson (very pretty), Gavin Friday, Guggi, Noel Gallagher's wife, Glen Hansard, Mark Geary and Colin Farrell. Once U2 came on people stopped paying attention to them as there was more important stuff to watch.
I did not take my camera. The photo is from U2's Instagram page.
There are worse places to be in Bristol on a rainy Saturday night than Colston Hall. For those who haven’t had the pleasure, it is the largest venue in Bristol. Although I can’t be certain, it is probably the smallest largest venue for a city of Bristol’s size. And the venue within the venue, The Lantern, is smaller still with a capacity of c. 350. And it’s at the Lantern that Mt. Wolf had their first headline show in Bristol for the last show of a mini-tour to celebrate the launch of their new album, Aetherlight.
About 100 now dry souls had the run of the various facilities of Colston Hall as there was no act at the larger venue that evening. However, once Mt Wolf any feelings of emptiness were soon filled by a band that was very much on a mission. First, they augmented their core (guitar and vocals, acoustic guitar and drums) with a keyboardist, backing vocalist and four strings. Second, they had a tailored light show far above the usual standard for such a venue. Last, they played with immense conviction and passion.
The vocalist evoked both Matt Berninger and Jonsi, which is no small feat. While the band as a whole also had touchstones of the National and Sigur Ros. I also heard a lot of Explosions in the Sky as the songs built to sonic and emotional crescendos. Overall, I think all went back into the wet night quite pleased with how the evening panned out and eager to follow a band clearly on the up.
Saint Sister are at a curious stage in their career trajectory. Their officially recorded output numbers seven songs (one EP and two singles), yet their popularity is such that they fill the sizeable, as well as beautiful, National Concert Hall in Dublin. How did they get there?
Gemma Doherty from Derry and Morgan MacIntyre from Belfast met in Dublin while both were singing with the Trinity College Orchestra. Gemma plays the harp and has a background in trad and classical music. Morgan was previously working as a solo singer/songwriter and is influenced by storytellers such as Joni Mitchell and Joan Baez. They started Saint Sister in November 2014. Their music has been described at atmosfolk. I find it reminds me mostly of 80's pop – in a good way: The gothic sound of the Cocteau Twins, the melodies of All About Eve and the poppiness of Strawberry Switchblade.
It is amazing how well their intricate music works live. Saint Sister have gigged mostly as a duo, with harp and keyboards. They use (but not over-use) a loop pedal at times. What will have done their popularity no harm is that they managed to appear at all the coolest of events: SXSW in Austin, the BBC Introducing stage at Glastonbury, RTE's Other Voices in Dingle and Eurosonic in Groningen (see YouTube for clips of their performances there).
I first saw Saint Sister live at Dublin's Christchurch Cathedral last November. That night felt like a carefully planned event as much as a concert, with special affects, lights and the venue itself all contributing towards the special atmosphere. They went a step further for their National Concert Hall show. Special mention first of all has to go to the support act, I Have A Tribe, a sympathetic solo artist who sings melancholic songs while accompanying himself on piano.
Saint Sister themselves pulled out all the stops for this concert. They still performed part of the show as a duo (and I hope they will continue to do this), but had two additional musicians on stage for the majority of their set. Furthermore, a three piece brass section and a six man/woman choir joined them for a number of songs. The result was amazing; it all sounded and looked beautiful. The girls have recently toured mainland Europe as support act for Lisa Hannigan, who came on as a special guest on the night. Lisa, Gemma and Morgan sang a song a cappella, followed by a cover of Leonard Cohen's 'Suzanne'.
In a perfect world the show would have been a couple of songs longer, but I guess it is always good to leave your audience wanting more. The band received a prolonged standing ovation for their efforts. The concert was filmed, so hopefully we will be able to watch this again someday. I believe that Saint Sister have a great future ahead of them. Hope that they will release a proper album soon!
Catch them at the Lake Stage at Latitude in July or the Other Voices stage at the Electric Picnic in September.
Something of a deviation for us so intrigued and excited in equal measure about this gig. I hadn't done much research on the band beforehand so went along with a completely open mind. On record they are one of those bands that sounds like there's loads of 'em so I was a little surprised to see just four on stage.
An interesting gig on many levels. As the lights went down the stage gave an impression of a theatrical performance in the offing rather than a high-energy gig, with a couch either side of the stage. one with a lamp beside it, the other with a small table and flower arrangement The keys player was a demure Alt-J look-a-like, and as he proceeded through his classical intro he was joined by the bass player from the shadows followed by forms appearing from the settees, being sax player and drummer in mock awakening mode. After a few moments of stretching they took their places and went into the opening number,
This is an extremely tight band, most songs having a jazz foundation. Sax was front and centre throughout the set but didn't dominate. They included a good selection of songs from late 2016 release ‘IV' but alongside this there was plenty of room for each of the band members to showcase their immense talent. And herein lies the reason this outfit are so enjoyable - there was so much variety in their sounds including almost prog-rock deviations including particularly impressive bass solo.
Maintaining a level of humour throughout, at moments when they weren’t included in a particular jam they lay centre stage with a duvet over themselves. Audience participation was requested through a ‘sea of hands’ onto which was launched a blow-up dolphin that had hitherto sat on the drummers PA stack
Whilst most of the songs were instrumental, occasional vocals were provided by the drummer and as the set entered it’s final few songs they had guest appearances from two different female vocalists, the first of which gave a touching rendition of 'Love is A Losing Game’. The second guest vocal, in the encore, was a harder-edged rapper
An excellent and diverse set. West End theatre, Back street jazz club, Festival , New York rap bar, Kentish Town Forum - BBNG Took us to all these places tonight.
There are several elements which need to come together to make a great and memorable gig; the quality of the musicians, the set list they select , the venue and the audience all contribute . Last October at the Derby Folk Festival in the cathedral, this Folk Award winning duo were the stand out performance of the weekend, so I was intrigued to see if their own brand of “....lugubrious bastards out in full lilting lachrymosity” (to quote from their own social media) would translate to a different venue . The Musician is located at the end of a street in one of the less glamorous parts of Leicester, the venue regularly puts on a great selection of live music in a single room with a low ceiling and couldn't provide a greater contrast to Derby Cathedral. Any doubts I had that Clarke & Walker wouldn't work as well here were quickly trashed.
After taking their allotted stage places, Ben seated and Josienne standing, Josienne starts with a perfect antidote to the often used “Let's Rock!”opening of some bands and a reminder of their “misery wagon ... spreading the melancholy” (see above), “Let's get miserable”. Opening with the bluesy 'The Birds' from her first album, followed by “.. and now another banging, dance floor filler” which is the beautiful 'Something Familiar' from most recent album 'Overnight', as is Gillian Welch's 'Dark Turn of Mind', which Josienne feels describes her and jokingly that on the writing of the song “..Gillian wrote it first, well I feel I would eventually have ...”.
“So we just lost a folk award”... referring to their best duo Folk Award nomination (winners 2015, nominees 2016) they play their cover of the traditional “The Banks of Sweet Primroses” as performed at the 2015 awards show.
There are a few new songs tonight, 'Seedlings All' is written about humans being the most overproduced organism on the planet and has a lovely waltz-time guitar part, another track possibly called 'Chicago' is the occasion on a US tour when they arrived at a show in that city to an audience of zero, as a reminder not to become a diva. Then in a shock move that may “.....put the final nail into our folk coffin...” they have two tracks featuring a drum machine (please no fainting now), one of which is a cover of Dolly Parton's 'Little Sparrow'... after which Josienne says “maybe we've had a couple of walk-outs, it's too dark to tell”.
The Musician is in its 'Folk club' set up tonight, chairs grouped around small round tables with a candle on each one, familiar to those who have seen the Coen Brothers 'Inside Llewyn Davis' based in 1960's Greenwich Village folk clubs, recalling this period they play covers of 'Reynardine' and 'Fotheringay' both well know from the 1960's version of Fairport Convention.
Josienne's self-deprecating sense of dark humour continues with her review of their version of Nick Drakes' 'Time Has Told Me', “...beautiful but rather pointless, much like the band playing as the Titanic sank.”. And of her own songwriting style “ I keep trying to write a euphoric, anthemic number but they eventually descend into melancholy” before playing 'Silverline' which features the line “And somehow my view is always imbued with melancholy hues” just to prove the point.
Those of you who are already aware of this duo will know that Josienne's stunning, melancholic (yes, that word again) vocals and Ben's beautiful guitar playing, which is subtle and supportive of Josienne's vocals when it needs to be and is also strong enough to drive the tracks in a variety of different styles when required, together make a perfect combination. Maybe you cannot dance to these “lugubrious bastards”, but you cannot fail to be totally engrossed by their beautiful, mesmerising performance.