- Live Reviews
Sitting in the gallery of the Buxton Opera House amongst the gold-painted decorative mouldings and ceiling paintings of Rubenesque cherubs you get a vertigo-inducing view of the top of Blair Dunlop's head.
The knowledgeable Rock club reader will not need to be reminded of Blair's musical parentage, which is becoming increasingly irrelevant as at the age 23 he has already released two fine albums of acoustic based, singer-songwriter tracks.
He opens the set tonight with the complex fretboard fingering of 'The Station' from his most recent album 'House of Jacks'. A quick check on the audience's appreciation of Christopher Marlowe leads to ' Secret Theatre', which is written about the playwright. A new song 'No Go Zone' is dedicated to the hysterical news reporting on the state of some British inner-cities. Blair finishes his set with his interpretation of the traditional Scottish ballad ' Black is the Colour'.
Next, Oysterband with their uplifting, rousing songs with an acoustic tradition at their heart, opening with with two tracks from most recent album 'Diamonds in the Water'. The chorus of 'Where The World Divides', “I'll meet you there , I'll meet you there where the word divides” gets the audience singing.
A trio of fine instrumentals is introduced by fiddle player Ian Telfer with,“ We've sold as many tickets as Ken Dodd, that's another one off the bucket list then”, making reference to tomorrow night's main turn at the venue. The power-ish ballad of 'Dancing Just as Fast as I Can', “you can trust in the power of music...I'm dancing just as fast as I can”, features a lovely, twinkly guitar part from Alan Prosser.
Corny joke of the night award goes to Ian Telfer, “Two disciples at The Last Supper “what's that plastic bag under the table” , oh don't worry about that it's just Judas' carry-out” is best read in a Scottish accent.
The collaboration between June Tabor and Oysterband has released two albums 'Freedom and Rain' in 1990 and 21 years later 'ragged kingdom', both contain a mix of arrangements of traditional tunes and covers, one of which starts tonight as June takes lead vocal on Dylan's 'All Along The Watchtower', dedicating the “There must be some kind of way out of here” line to the general election coverage.
'If My Love Loves Me' my personal favourite track from 'Ragged Kingdom' gallops along as quickly as the protagonist Annie's horse towards what she believes is her lover's corpse, but in a surprise happy ending ,which folk music is not known for, she resurrects him with a kiss.
June and Oysterband lead vocalist John Jones share lead vocals for “All Tomorrow's Parties”, they share a joint love of The Velvet Underground and this was one of the reasons they first recorded together. A bare beautiful version of 'Love Will Tear Us Apart' sung as a duo on which the vocalist are accompanied only by acoustic guitar and cello adds a totally different feels to the song. Both bring to the fore two of our most expressive and powerful vocalists in traditional British music .
For the encore everyone including Blair is back on stage for 'Bright Morning Star', the three lead vocalists taking alternate verses and the whole band the choruses, then the traditional Oysterband set closer 'Put Out The Lights' for a final audience sing along which typifies the mood of musical celebration of the whole night.
Alisdair Whyte
- Live Reviews
A warm Monday night in Cambridge saw Beth Hart play the penultimate date of her current UK tour at the City's Corn Exchange venue. Only seemingly around half full, the intial impression was that the gig would have been a more hot and steamy affair in the smaller Junction venue down the road.
As it quickly turned out though, there was no need to fear for any lack of atmosphere because as soon a Beth started singing it becomes apparent that the larger venue is needed anyway, to contain with her amazing vocal range.
A four piece band behind her with two guitarists, really power from the off and the first few numbers are literally, primal rock. Like any fine album where your appreciation of the record grows with more listens, as this gig progressed and the pace changed from rock to blues to gentle and soaring ballads, so did the gig grow into something much more interesting than an average rock concert.
By mid-point of the evening it was easy to recognise that we were witnessing a very special talent indeed. Beth is a Grammy-nominated singer/songwriter and someone who has collaborated with the likes of Jeff Beck, Slash, Joe Bonamassa and Buddy Guy in the past.
New album, 'Better than Home' was well represented in the set which was just fine for such a solid record. The power of the band with Beth in full flight out front was really something to behold. The ballads however with Beth at the piano or just on a stood sitting centre stage were the most captivating moments of this diverse show. Songs that were gentle, spin-tingling and heart wrenching in equal measure really emphasised the depth of range that Beth's signing voce contains.
The complete set lasted 1 and 3/4 hours and during that time there was barely a gap between songs. Beth certainly seemed at ease with the crowd and genuinely happy to be back on our shores.
This was a special Monday night for sure!
Pete
photo: Ant May
- Live Reviews
We arrived on the dot of 8 o'clock to a silent, seated and darkened room in Kings Place, with The Kennedys; Maura and Pete and their gorgeous Gibson's in the spotlight. Creeping quietly to our seats, we were treated to an evening of melody, harmony and relaxed, easy musicianship.
The duo played tracks from their newest album West, Maura's solo album Villanelle (released 12th May), a few from previous albums and a new song from Pete's album scheduled for release later this year.
Playing to a room of about 100 fans, the music was stripped back to two guitars and vocals emphasising the strength of the material and the performers. Maura's voice rang true and clear, supported by gentle harmonies and guitar solos from Pete. The combination was both disarming and completely without artifice.
Each song was preceded by a brief introduction explaining its genesis, some funny, some touching, but all providing an interesting glimpse into the creative process, and adding to the informal, almost conversational atmosphere.
In a gig like this, it's hard to pick a favourite, but a few numbers really stood out such as Fireflies with gracefully sprinkled guitar harmonics from Pete, Southern Jumbo (part-inspired by their matching Gibson guitars, part-inspired by a sabotaged gumbo!), and Travel Day Blues - which spurred a few dancers on to the floor.
The set ended with the Midnight Ghost, featuring some nifty fret work from Pete, and was followed by an encore of Love at the Five and Dime.
While the show was in a somewhat unexpected format for me, this was a performance of old-fashioned, honest and earnest American country music, which I hope to repeat whenever these two are back in town.
The Kennedys album West is currently available Here
Maura's solo album Villanelle is available Here
Set list
- West
- Locket
- Fireflies
- Mockingbird
- Bodhisattva Blues
- Elegy
- Southern Jumbo
- Borrowed Dress
- Winter
- Travel Day Blues
- The Queen Of Hollywood High
- Signs
- She Worked Her Magic On Me
- I Cried To Dream Again
- Bicycle With Broken Spoke
- Williamsburg Bridge
- Mad Russian
- Jubilee Time
- Midnight Ghost
Encore: Love at the Five and Dime
Gráinne
@grainne4u
- Live Reviews
It’s rare occasion nowadays when I attend a gig and know absolutely nothing about the band I’m about to see. The only thing I had read about The Nordic Giants was that they “were fans of Sigur Ros and Pink Floyd”. Well, that’s me, so I was full of anticipation.
Manchester’s wonderful Deaf Institute was the venue for Tuesday nights entertainment, and first up, playing to about half capacity, was a 3 piece outfit calling themselves athousandfurs who were playing only their 3rd gig together.
What a noise they made together, and more importantly what a voice the singer has. An extremely powerful falsetto, reminiscent of Jeff Buckley, and some of the songs they played were similar too. Turns out they don’t have anything recorded yet, but an EP is due later in the year. If you sign up on their website, you will be sent some files at a later date.
So on to the main act, and the eerie background music was the perfect backdrop for what was to come as the lights dimmed. I took a seat at the back of the venue to get a better view of the stage as there was a projector screen at the back , and what looked like a large speaker stage centre, front, which turned out to be another screen. This was clearly going to be a visual, theatrical affair. The guy sitting next to me who had travelled down from Kendal for the evening was twitching with excitement and refused to tell me anything about the show about to unfurl.
On the duo came, dressed in elaborate leather and feather headdresses obscuring their faces, and presumably their identities, and one sat stage left at the keyboards, and the other stage right at the drum kit. The video kicked into life, showing some story of a bleak futuristic dystopian world and the music exploded into life to accompany the visuals. And what a noise they make for just a pair, albeit aided by background tapes and any singing is done by a pre recorded soundtrack.
The second track accompanied a short film about a few friends turning up at a lake for a scuba diving afternoon, only for things to take a drastic turn for the worse upon resurfacing. The Nordic Giant stage right was playing a guitar with a bow - very Sigur Ros, while the Nordic Giant stage left was on keys and trumpet at the same time. Stirring, ambient and euphoric all at the same time.
The rest of the hour or so they were on stage was much the same - soundtracking various videos of animation, live action, and a female vocalist on one track, but never predictable or anything less than fascinating. One track was played to the animation of a running horse whilst what sounded like a historical war speech was being played in the background. The similarities with Public Service Broadcasting was evident.
Just an hour had passed and our 2 heroes bowed to the crowd and made their way off stage, only to return a couple of minutes later for the encore. This was an epic film called Jojo In The Stars, and they were joined by the support band to create an even bigger, swirling wall of sound.
And then they were gone just over a hour and a quarter, but we didn’t feel short changed - they managed to cram a lot into that time.
Much discussion was then had about what we had just seen - was it a rock concert ? Was it theatre ? Was it all a bit pretentious ? and was it at all original ? Actually, who cares what it was. Were they for fans of Sigur Ros and Pink Floyd? I guess so. One things for sure it was hugely entertaining, spectacular and if it then prompts debate, surely it’s worth it?? I’ll be back for more when they return.
Keith @kjsmith4082
- Live Reviews
Bella Hardy has just released 'With The Dawn' her seventh album since 2007 debut 'Night Visiting', and has again moved the folk tradition forward with an album of her thoughts on friendships, loneliness, grief and ultimately hope and new beginnings using traditional arrangements augmented by the addition of electronic effects and beats.
With a newly shortened and dyed blonde hairdo an almost unrecognisable Bella comes on stage in a sparkly-top outfit she tells us she bought for the BBC Radio2 Folk Awards the previous week; Bella was awarded the Folk Singer of the Year Award at the 2014 version. She is accompanied by the With The Dawn band who in addition to expected instruments play a grand piano, electric organ and a laptop (yes, a laptop) which is as skilfully programmed and manipulated by album producer Ben Seal as he does on the album.
Guitarist/ banjo player (and as we learn tonight squash player) Anna Massie opens the set with the banjo intro to 'First Light of the Morning',one of many tracks from 'With The Dawn' played tonight which shows the clever incorporation of the effects and beats alongside Bella's vocals, this harmonious marriage is possibly best consummated tonight on 'Lullaby For A Grieving Man'.
'The Herring Girl' which won her the Best Original Song from the 2012 Folk Awards, concerns a young girl on trial after using her gutting knife to defend herself against a drunken attacker, sounds like a traditional song of the 1800's rather than one written 4 years ago.
The highlight of tonight's performance is her contribution to 'Songs for The Voiceless' an album of songs about The Great War ,'Jolly good luck to the girl that loves a soldier' is written from the woman's point of view. During the final stanza, “ To those whom only shells of men or ghosts of men come marching home singing “Glory, glory hallelujah...”” the rest of the band finish and Bella is left alone strumming her fiddle, on the third syllable of hallelujah she hits an almost inhumanly high note that probably rattles the glasses in the bar and sends any dogs being walked in adjacent Cannon Hill Park running for cover, as she finishes there's a stunned silence before the audience applauds. It's a spine-tingling moment.
'With The Dawn' has rightly received critical acclaim and the quality of playing tonight alongside Bella Hardy's beautiful, soaring, apparently effortless vocals perfectly transfers the recorded versions to the MAC tonight.
Alisdair Whyte
- Live Reviews
Skinny Lister bounce into town on the back of their new well regarded album Down on Deptford Broadway. Full of manic energy as soon as they step on stage, they are now harder and more powerful than I recall from last year’s Cambridge Folk Fest club tent. Reminiscent of the Pogues but more poppy and less drenched in whisky and cigarette smoke. Most of them sing but its Lorna, in the band with her brother, who is the most animated although she does has competition when the double bass player surfs into the crowd complete with instrument. Not to be outdone she joins him, waltzing with anyone who will dance…which is most of the crowd, who love her and the band and know every song.
Mind you, all their originals sound like you have known them for years after a few listens – a very good sign. Highlights include the new album’s title track, Trouble on Oxford Street, Rollin Over, slower number What Can I Say, old sea shanties John Kanacka and South Australia, and my own favourite, Six Whiskies, just made for singing drunkenly in a bar… With their London gig at the O2 Academy sold out, and a big stage performance at this year’s Cambridge FF to come, this band could go far.
Excellent support in Sean McGowan, not the famous one, as he points out early on. Nonetheless he’s a great writer, singing from the heart in a way that would make his namesake proud. First song My England (not yours!) could be an anti-UKIP anthem, then there’s the autobiographical Millbrook Road, and the powerful unaccompanied inspirational rap All the Best that ends his set.
Frank Turner, an obvious influence, has sung with him and may well do again at the London gig. Onstage he announces he’s just had a call from Billy Bragg, giving him the support slot for his 2 June gig in Southampton, Sean’s home town. He’s as pleased as punch! Comes across as a real honest young guy, not gobby, just full of passion and self-deprecating humour – it's no surprise when Skinny Lister makes him one of the band for their many encores. His is the kind of voice that those insincere ‘heartfelt’ EDM acoustic numbers by people like Avicii really need.
Kevin Hand
- Live Reviews
I think the last time I saw Super Furry Animals was in a tent, at V festival many moons ago. It's that long since I have visited the V festival!
At that time, the band in crash helmets if I recall correctly, were one of the hardest working outfits in the land, yet our very own home-grown version of the Flaming Lips seem destined to be just that, a hard working band who had reached their capacity audience.
Fast forward 6/7 years or more after the band members have been off to do their own thing such as Gruff Rhys; successful solo ventures and Guto Pryce and his wife Lindsey Leven's outfit Gulp and now the band have reformed for a sold out UK tour and festival appearances (including Glastonbury and a headline slot at the Green Man Festival).
Rest assured the band have returned, healthy, refreshed and full of all the madcap mayhem of the legendary gigs that preceded their hiatus.
Kicking off the tour are three sold out nights in the 1,600 capacity Great Hall of Cardiff University's Students Union and the place is wedged by the time the band took the stage at 8.45 pm, following a gritty opening set from The Magic Numbers.
The evening with Super Furry Animals is actually a joyous 2 hours and 15 minutes worth of greatest hits. Even with the re-issue of Mwng the next day, it's pretty much all the albums getting an airing. Everybody seemed happy up on the stage and the 25 song set really motored with the added attraction of dry ice and laser for added effect.
Gruff brought out the famous helmeted face for the lengthy encore which ended with band in their yeti costumes blasting out 'The Man Don't Give a F*ck'.
A very special gig indeed as I am should everyone will experience a show on this tour. A national treasure, or more music to come, at the moment I don't think anyone knows so, her's looking forward to the same all over again at The Green Man Festival in August!
Pete
SET
(A) Touch Sensitive
(Drawing) Rings Around The World
Do Or Die
Ice Hockey Hair
Demons
Northern Lites
Ymaelodi â'r Ymylon
Y Gwyneb Iau
Nythod Cacwn
Pan Ddaw'r Wawr
Run! Christian, Run!
Hello Sunshine
Hometown Unicorn
Zoom!
Arnofio / Glô in the Dark
Something 4 the Weekend
Gwreiddiau Dwfn/Mawrth Oer Ar y Blaned Neifion
Slow Life
Juxtapozed With U
The International Language of Screaming
Golden Retriever
Receptacle For The Respectable
Fire In My Heart
Mountain People
The Man Don't Give a F*ck
- Live Reviews
A Thursday evening in springtime is the setting for Nick Cave and some of his Bad Seeds to play the Theatre Royal venue in Nottingham as part of their short UK tour.
Tickets for all dates went in a flash when they were put on sale and the venue is packed to the rafters as the band take to the stage at 8.30pm. Although billed as a solo show, the band includes Warren Ellis, Martyn Casey Thomas Wydler and Barry Adamson all members of the Bad Seeds.
The band all had their own space in front of an initially red velvet curtain back drop under blue lights on a dark stage, all a very appropriate smokers' lounge setting for Nick's dark and wondrous tunes.
'Water's Edge' from latest album, 'Push the Sky Away' and 'The Weeping Song' from 1990's 'The Good Son' kick the show off in fine style, to be followed by 'Red Right Hand' from 1994's 'Let Love In'. The magnificence of Nick's current and back catalogue is already self-evident to all after just three songs in. Warren Ellis seated and mainly on guitar is an equal star of the show and is the usual foil for Brother Nick opposite.
Still sticking to the set list, ' Brompton Oratory' is followed by a spellbinding 'Higgs Boson Blues' which leaves the audience pretty much in awe. Here's where the banter really starts, and the set list becomes a thing of the past as the crowd holler of this song and that. 'Tupelo' is the loudest or, clearest shout and the band immediately proceed to blast through the song.
It then becomes open season to get your song played, some do, and get hilariously rejected. The atmosphere is fantastic and the music sublime. A delicious 'And No More Shall We Part' from the 2001 album of the same name is played for one particular audience member who had written to Nick previously. The show is that intimate!
Songs from 'Push the Sky Away naturally feature heavily but they are so strong that they just fit in seamlessly.
The encore includes a spine chilling version of 'God is in the House' after which the band change course to 'pop land' and give us a joyous 'Breathless'. This song seems to come about after someone at the front tells Nick that they got married to this particular tune. It's unclear whether it Nick's version of the song used at their nuptials or not, which causes much hilarity.
Two and a half hours after we started, the set closes with 'The Lyre of Orpheus' and 'Push the Sky Away'. This was nothing short of an incredible show and one that will live in the memory for some time to come.
Pete
Original Set List
Actual Set List
Water's Edge
The Weeping Song
Red Right Hand
Brompton Oratory
Higgs Boson Blues
Tupelo
Mermaids
The Ship Song
Into My Arms
From Her to Eternity
West Country Girl
And No More Shall We Part
I Let Love In
Up Jumped the Devil
Black Hair
The Mercy Seat
Jubilee Street
Encore
We No Who U R
God Is in the House
Breathless
Stranger Than Kindness
Jack the Ripper
The Lyre of Orpheus
Push the Sky Away
- Live Reviews
Major Americana / bluegrass man and Old Crow Medicine Show, songwriter Gill Landry is supporting Laura on this tour. A fabulous 30minute set (apart from the audience noise) set the tone for the evening. Its' a shame that many people in the audience didn't actually know what they were missing when it was staring them in face, obviously during the midpoint of many many conversations!
The stage backdrop for Laura Marling and here band has a desert (Mojave?) landscape, and as she walks on, picks up the national steel guitar and launches in 'Howl', the first track from the new album, the effect is nothing short of mesmerising. The band join her on stage quietly and just seamlessly join into the song which moves pretty much without pause though to four songs from 'Once I was an Eagle'
The lion's share of songs comes from the new album 'Short Movies' and a fair chunk of 'Once I was an Eagle'. An acoustic guitar only makes an occasional appearance during the set as the National Steel and electric guitars take prominence. It's not that any reinvention was required for Laura, it's just on this tour you can witness an artist taking her art form to a totally different level. That stay in LA seems to have worked wonders.
The band were tight and happy, even a few humorous moments like when Laura thought she was witnessing someone in the audience climbing on the shoulders of someone else "A first for a Laura Marlin concert" only to realise it was a guy taking his jumper off
The ninety minutes of the set whizzed by to the point where Laura explained as normal that she does not do encores although, the previous night she actually did (at the Queen Elizabeth Hall on the Southbank) to please her Dad, when she played ' Daisy' which is her Dad's favourite song from the Short Movies session (it didn't make the album) and Laura also played that song for us tonight.
The set ended with Worship Me and Short Movie and then they were gone and the venue pretty much emptied within ten minutes.
What an incredible show, Laura Marling has introduced herself to rock n roll and added yet another string to her already impressive bow.So if you can get to see a show on this tour, then do so, you could just end up amazed.
Pete
Set-list
Howl
Take the Night Off
I Was an
You Know
Breathe
I Feel Your Love
How Can I
What He Wrote
Rambling Man
Love Be Brave
False Hope
Master Hunter
Strange
The Muse
Sophia
Goodbye England (Covered in Snow)
Blues Run the Game
Daisy
Worship Me
Short Movie
- Live Reviews
A series of sold out gigs in London’s Lexington, where post punk legends Wire first started their eclectic Drill festival in 2010 – 35 years after their first sweaty anarchic gigs at the likes of the 100 Club and the Roxy. Each Drill is different, and this one is just the band, in a small venue, with a specially selected support each night.
Tonight it is psychedelic Londoners Orlando. Turns out by coincidence I know one of them…new keyboardist Phil, aka Cambridge stalwart the Man from Uranus, well known for his wig out live shows. Here he is part of a tight combo, replacing Charlotte from Ash, whose DJ work now leaves her time for little else.
The band's enveloping instrumentals are reminiscent of Goat, with sparkly 60s sci-fi clothes instead of tribal gear. Stereolab might be another reference, with chanted vocals on psych-pop numbers like 'Theme for a Telepathic Amphibian' – the title perhaps giving further clues to the music – or not!
They set the stage well for Wire, who are uncompromising and still true to their original punk ethic. Colin Newman quietly in charge, Graham Lewis in trademark beret, Robert (Gotobed) Grey on drums, all original band members, plus Mathew Simms adding a touch of youth. Everyone in black.
They play no hits or old numbers. The first half is all from the excellent new album just called Wire, including catchy number 'In Manchester', which recalls Buzzcocks pop. The second half is much darker and harder, riff after riff, lyrics screamed or spoken, the epic album finale 'Harpooned' culminating in Drill, the never-ending song that gives the festival its name.
In Brighton’s superb Drill last year they played it first with a stage full of guitarists, then with headliners Swans – here it is just the four of them, powering into the night alone – apart from a room packed with adoring fans.
Kevin Hand
Tour dates
April 20 - SOUTHAMPTON – Engine Rooms
April 21 - RAMSGATE – Music Hall
April 22 – NOTTINGHAM – Rescue Rooms
April 23 – LIVERPOOL – Kazimer
April 24 – HEBDEN BRIDGE – Trades Club
April 26 - ABERDEEN – Lemon Tree
April 27 - GLASGOW – King Tuts
April 28 - LEEDS – Brudenell Social Club
April 29 - MANCHESTER – Club Academy
April 30 - BRISTOL – Fleece
- Live Reviews
I’m not sure there’s a great deal more to say about current darling of the music press Courtney Barnett. We know she’s Australian, and more specifically from Melbourne, we know she writes engagingly about the more mundane aspects of life, and we know she’s just released her debut album to great critical acclaim, but what I didn’t know was how that would translate live.
After what seemed like an interminably long period following the support band leaving the stage and her over fussy roadies making sure every square inch of the stage was just so, on she walked with the minimum of ceremony with the other 2 members of the band and began playing Nobody Really Cares If You Don’t Go To The Party. This took the sweaty, capacity Leadmill by surprise and it wasn’t quite the explosive start we expected.
It took until the 5th song for the audience to really get going and that was because it was History Eraser from her debut EP release. I’m guessing that as the bulk of the set focussed on the debut album, most of us have only had a week or so living with it so don’t know them off by heart yet. The exception of course was the fabulous single Pedestrian at Best which closed the main set to a enormous ovation.
A couple of encores later, and she and her left handed Fender Strat were done.
So in summary for me, a good if not great gig, by a massively talented young songwriter and guitarist who will only grow and grow as she releases more material. Catch her at a small venue while you can.
Keith @kjsmith4082
- Live Reviews
I’m not sure there’s a great deal more to say about current darling of the music press Courtney Barnett. We know she’s Australian, and more specifically from Melbourne, we know she writes engagingly about the more mundane aspects of life, and we know she’s just released her debut album to great critical acclaim, but what I didn’t know was how that would translate live.
On Monday night, her mostly sold out tour rolled into Sheffield and the Leadmill - surely at the rate she is gaining momentum this will be the last tour at venues of this size.
After what seemed like an interminably long period following the support band leaving the stage and her over fussy roadies making sure every square inch of the stage was just so, on she walked with the minimum of ceremony with the other 2 members of the band and began playing Nobody Really Cares If You Don’t Go To The Party. This took the sweaty, capacity Leadmill by surprise and it wasn’t quite the explosive start we expected.
It took until the 5th song for the audience to really get going and that was because it was History Eraser from her debut EP release. I’m guessing that as the bulk of the set focussed on the debut album, most of us have only had a week or so living with it so don’t know them off by heart yet. The exception of course was the fabulous single Pedestrian at Best which closed the main set to a enormous ovation.
A couple of encores later, and she and her left handed Fender Strat were done.
So in summary for me, a good if not great gig, by a massively talented young songwriter and guitarist who will only grow and grow as she releases more material. Catch her at a small venue while you can.