- Live Reviews
How many bands can you name from Switzerland? Well I beat you by a count of one, Deer Johnson are an acoustic guitar duo (Philip Deer and Thomas Johnson) from the land of cowbells and Toblerone.
The stage is set like a living room from a 1970's TV drama; there's a small occasional table between two chairs, on the table is a table lamp the base of which is curiously a wooden statue of a horned mammal (quite possibly a deer?)
I think they described their as yet unreleased songs as “ sad songs.... mainly about avalanches”. What they also are are beautiful harmonies between the two vocals, played on two acoustic guitars. Comparisons to Turin Brakes may be a bit obvious considering the set up but still valid. If you like your melodies beautifully played and sung, reminding you of a boozy afternoon with the sun on your back at some festival then Deer Johnson could well be for you.
Simple two part harmonies could not be a greater contrast to what comes next . For those unfamiliar with Moulettes they are a multi-instrumental, multi-member (albums credit about 20 co-collaborators of the Moulchestra ) performers of angular, string-dominant pop; who actually invite the audience during tonight's show to help them come up with a description of their sound so they have something to use in interviews (my own suggestions might be baroque-rock, orchestral pop, both of which were cruelly rejected or ignored by the band).
Tonight's version of the band is a five piece including Kate Young (of Kate in the Kettle and Carthy, Hardy, Farrell and Young) and Eliza Jaye who opened tonight's show with a short set of electric blues tunes. First track is the bright and cheery 'Sing Unto Me' from 'The Bear's Revenge', lead vocalist and demon cello player Hannah Miller's vocals chiming like church bells during the intro. Plenty of the complex, whirling folk of 2014 release 'Constellations' is played: the joyful single 'So It Goes', the multi-part, spooky vocals in the folk-prog (?) of 'The Observatory' as well as the title track with its jerky rhythms and choir-like vocals. A brand new track which features Hannah solo finger-clicking and playing an autoharp was inspired by the life of nematode worms!
Providing a moment of contrast is the relatively sparse and beautiful 'Songbird' consisting of just a vocal and guitar, then 'Glorious Year' which has just been released as a single with its breathy, swooping vocals and pulsing rhythm section . They finish with a rocking, stomping 'Requiem', the whole band attacking their instruments creating a triumphant finish.
A night of clever, complex yet still hummable, thrilling, totally original music.
Alisdair Whyte
- Live Reviews
So this was a night of firsts: first gig of 2015, first time at the new (fabulous) venue of Unity Works in Wakefield, and the first time seeing Kenny Anderson aka King Creosote.
The night of Scottish folk was kicked off with a guy called Sorren Maclean on acoustic guitar, joined by a fiddle and cello player. Five or six gorgeous songs followed, aided by the fabulous acoustics of this beautiful historic building. They took their enthusiastic applause from the all seated audience, before exiting stage right.
A short break followed, enough to buy Sorren’s new ep off the fiddle player and get a pint, and almost unnoticed, on shuffled Kenny with acoustic guitar on stage and started strumming. Polite applause for this solo start then subsided and the rest of the band entered the stage, swelling the numbers to 8.
Following introductions of the band members, the set started with a couple of tracks from 2014 album 'From Scotland With Love' : Something To Believe In, and Cargill, both sounding fantastic with the full scale band. After this, the first anecdote of the night was told, describing the meaning of the next track and describing how this followed his breaking of an ankle last year. The track is called A Great Believer in 3’s, which then goes straight into 6 Music playlist regular For One Night Only which finally gets this Monday night, seated audience warmed up (though sadly still not on their feet).
Mid set, the acoustic guitar gets swapped for the accordion and the band plays a couple of new songs. Apparently, the second track, called Kirby Grips, is messed up in the middle section, so they play it again, much to the bands amusement - they are clearly all having a great time.
Bats in the Attic from Diamond Mine with Jon Hopkins is up next (“one of our hits”) before the rest of the set is more songs from 'From Scotland With Love', including my favourite Largs.
Then comes the surprise of the night in the form of the first encore. Kenny announces that one of his heroes had sadly passed away today (Demis Roussos) and they were attempting to honour his memory by playing one of his most famous hits, Forever & Ever. And boy, do they do it justice. A beautiful folk style version of the song is followed by the first standing ovation of the night.
A fabulous song called Homeboy closes the night, and after the audience has swayed with arms around each other, another standing ovation is given.
In summary, this gig was many things; engaging (it seems all folk acts are always happy to talk away to the audience), high quality musicianship, great fun and very memorable. The rest of 2015 has a lot to live up to.
Keith @kjsmith4082
- Live Reviews
Diagrams are back with a brand new album, and hit London this week to debut songs from their latest record 'Chromatics'' at The Lexington. With support from the acoustic delights of Spectral Chorus (a band who have surely watched Inside Llewyn Davis, more than once) Diagrams hit the stage with an intense level of excitement and exuberance demonstrating all the qualities from the new album that is a strong contender for album of the month and one that should be there or thereabouts when those legendary 'Top Tens' are created in December.
The songs as vibrant live as they are always interesting to listen to on record had the added impetus of a DIY pyro live! As main man, Sam Genders explained his lust for a Flaming Lips style show in the future, he handed out balloons to everyone in the crowd with the strict instruction NOT to blow them up for another three songs, but there is always one who would. That one happened to be in our party, but thankfully resisted the urge to perform anything too drastic with his balloon before the appointed time. When we did eventually launch them all in to the air, it bought a fun turn to the show backing up the foot tapping, head nodding performance that was unfolding before us.
Don't be surprised to see them hitting the festival scene later in the year, and if you do come across them, make sure you check them out. Front runner for gig of the year already, despite this being my only show of the year so far, it was a night that nobody will forget in a hurry.
Joe @thejoeeley
Other dates:
11th Feb - France, Paris, Le Point Ephemere
12th Feb - France, Lille, La Paniche
13th Feb - Germany, Berlin, Comet Club
14th Feb - Germany, Hamburg, Molotow Club
25th Feb - Manchester, The Ruby Lounge
26th Feb - Bristol, The Lantern
4th Mar - Leeds, Brudenell Social Club
5th Mar - Hoxton Bar & Kitchen London
- Live Reviews
Howe Gelb (Giant Sand) and Grant Lee-Phillips (Grant Lee Buffalo) have been on the road together over the past few months and following on from their show at the Union Chapel in London last autumn; they turned up at the Portland Arms in Cambridge this week.
Leeds the night before, Paris the next day, Celtic Connections in Glasgow coming up, they are certainly putting the miles in, which is particularly impressive for Howe who lives in Tucson Arizona. "You only live in the desert if you want to do nothing" he tells us "but I seem to be working very hard to get home to do nothing at present"
I'm not really convinced Howe's heart was in the show last night (based on the last Giant Sand gig I saw at the Queen Elizabeth Hall a couple of years ago.) He seemed quite happy to have a chat, take questions in a very laconic style that did have everyone in fits of laughter most of the time.
He was most happy with the house lights up, as three or four songs made their way into the audience before Howe called Grant up on to the stage for a couple of duets before he had to leave to catch a train.
That left us in the company of Grant Lee-Phillips and did he shine! Looking exhausted, he took this gig my the scruff of its neck and delivered a blinding performance of songs from Grant Lee Buffalo days, his own solo back catalogue as well as a new song recorded at the end of last year. He took audience requests and got a truly well-deserved ovation at the end. He rewarded us with an encore of 'Bethlehem Steel'
Pete
Grant's Set:
Pale Blue Eyes (with Howe Gelb)
Always Get Lucky With You (with Howe Gelb)
It Ain't the Same Old Cold War Harry
Nightbirds
Mona Lisa
Stars n' Stripes
Calamity Jane
The Hook
Cry Cry
Strangest Thing
Jupiter and Teardrop
Buried Treasure
Denver Station
Walking in the Green Corn
Encore:
Bethlehem Steel
- Live Reviews
Sub Pop residence in Cambridge last night at the cosy Junction 2 venue. Kicking off the evening was Luluc (pronounced Loo-Luke). Two Australians who apparently, split their time between Melbourne and their adopted hometown of Brooklyn found themselves in Cambridge on a cold blustery Thursday evening.. Twin acoustic and electric guitars, sweet harmonies and songs. A gentle introduction to the evening ahead.
Dinosaur Jr and all round legend J. Mascis is our reason for being here tonight. A couple of electro-acoustic guitars, pick-ups, pedals, loops and one hour, twenty minutes of solid music with just the occasional "hi" and "thanks". No stories of decades on the road tonight.
J. is seated in front on a music stand with an amp to the side. The man himself is on at 9pm. sits himself down, plugs in, turns the amp up to ten and away we go!
The new album 'Tied to a Star' takes the lion's share of the set and there are no complaints from me for that but there is plenty of selection and he does dip his toes into the Dino Jr world as well. Only pausing to tune a guitar, this really is a brilliant in your face non-stop grunge-a-thon.
I did find myself thinking though, both gigs so far this year (Nils Lofgren was the other one) and I have been seeing this for a long time, it's where artists basically, play or sing something, record it and then play over the top of it live.
A great moment last night when J strummed the guitar, then stopped playing to have a drink but the guitar was still playing through the speakers. J then played and sung over top of the base musical layer. Many artists do that now, a sign of the economics of the road? It's all fine but and certainly at this gig the sound that J. was able to get out of all the effects around him was amazing. Just not sure I am 100 percent comfortable with it in all cases.
So no gentle acoustics here, this was beautifully raw set from an old warrior … long may he continue!
Pete
- Live Reviews
Tucked away under the railway arches opposite Manchester's Oxford Road railway station is Gorilla; despite the name there's no sign of the large primates inside or even a jungle theme. What we get instead is a wide stage (always the best for views) with a wall of electrical switch boxes, all gauges and on/off lights behind the band.
If those gauges and lights were still connected they would have flicked on the second The New Pornographers take to the stage , they start as does the most recent album, with 'Brill Bruisers',“.. Bo, baa, ba, ba ,boo, “ six of the seven members of the Canadian (mostly) supergroup contributing to a huge wall of vocals, including for the first time in the UK with the Pornographers secondary songwriter Dan Bejar “this guy usually stays at home concentrating on his poetry” according to Carl Newman who writes the majority of The New Pornographers' tunes.
Dan appears and disappears from the stage as and when his vocals are required so we get a lot of his tracks tonight, 'Myriad Harbour' from 'Challengers', 'War on the East Coast' and 'Testament to Youth in Verse' with its huge sing along “ The bells ring no,no,no,no,no,...”.
'Dancehall Domine' from 'Brill Bruisers' the track you may have heard on 6 Music (a rare event) in the past couple of months appears to have enticed several punters out tonight. There's also a great version of 'Born with a Sound' from the same album with Kathryn Calder and Dan swapping vocal lines. The keyboard and electronic fills present on the new album are somewhat swamped by the guitar-heavy live band but that doesn't stop the newer tracks getting a positive reaction from the crowd.
As this is the first show of a short European tour the effects of jet lag are still evident, Carl recounts how he spent yesterday wandering around Manchester's city centre waiting for his hotel's check-in time .. “found Selfridges... nice store, got kicked out real quick..” They finish the main set with a rocking version of 'Mass Romantic' from their first album with Kathryn taking lead vocal, “Thanks for coming to a rock and roll show”.
Encores are 'Jackie' with Dan back on vocals and two tracks from 'Twin Cinema' (my personal favourite TNP album) , 'Sing Me Spanish Techno' and 'The Bleeding Heart Show'. If you could harness the energy of twenty two tracks of joyful, big chorus, sing along power pop delivered in seventy five minutes you would have really seen those gauges twitching with some serious wattage tonight.
Alisdair Whyte
- Live Reviews
Off again to one of my favourite venues, the former Methodist chapel which is The Institute in Birmingham; good sound, decent views (unlike the nearby O2), beautiful décor in the main hall and a real ale pub (The Anchor Inn next to the bus station) within sight of the front door.
Support tonight comes from Marisa Anderson, who played guitar on 'Afraid of Nothing' the lead track on 'Are We There ' Sharon’s latest album. Marisa plays bluesy slide-guitar instrumentals, in her introductions to which she refers to memories of North Carolina, or swimming holes in Kentucky. Her playing is extremely accomplished but unfortunately she rapidly loses the audience who just coming in from a wet and cold Wednesday night in Birmingham (West Midlands, not Alabama) struggle to relate to blues from the Deep South. Our fault, not hers, and the audience's loss.
Everybody on stage is dressed in black, and peeking out through her black fringe is tonight’s main event, Sharon Van Etten, backed by a four piece band including Heather Woods Broderick (ex-Horse Feathers and Efterklang) on keyboards and harmonising vocals.
They open with the first two tracks 'Afraid Of Nothing' and 'Taking Chances' from the latest SVE album, the punctuation-deficient 'Are We There', and the first thing which strikes is how apparently effortlessly Sharon’s vocals glides across the vocal range those two songs demand. Most of tonight is from the heart-breaking songs of decaying and obsessive relationships on 'Are We There'. A new track 'I Don't Want To Let You Down' is more in the style of previous album 'Tramp', which according to Sharon didn't make the cut for 'Are We There' as it was too happy and her parents liked it . A solo request slot, the content of which is eventually decided by a shout from the audience of “ play whatever you want” consists of a new song Sharon has composed from unreleased lyrics from 1960's Greenwich village folk scene singer Karen Dalton.
A delicate and beautiful version of 'Our Love' featuring Sharon on Omnichord is somewhat destroyed by a couple next to me who decide that it's “their”song and engage in an inappropriate extended session of tongue wrestling; a quick look at the lyrics “ We're a half-mast flag in wind ...Still don't know what I've found in our love” and I fear for the future of their relationship. Fortunately their amorous advances are broken by a thunderous and powerful version of 'Your Love is Killing Me' “Break my legs so I won't walk to you, Cut my tongue so I can't talk to you, Burn my skin so I can't feel you, Stab my eyes so I can't see.”
The encore is two tracks from the more up tempo 'Tramp', 'Give Out' which Sharon describes as being about “scared shitless” of moving to New York and 'Serpents' which is close as we get to rocking out tonight with the full band. The album 'Are We There' has ended up in many Top Ten's of 2014 and this emotional and powerful performance from Sharon and the rest of the band proves how correct us voters were.
Alisdair Whyte
- Live Reviews
An outstanding show at the Roundhouse last night. On stage at 8.50 pm sharp the 3 piece Manic Street Preachers proceeded to blast though 'The Holy Bible', with verve, guts and no short measure of style.
The intensity of the show was something to behold with James Dean Bradfield (having recently suffered throat problems) tore into the songs with abandon. Let's hope he is on the lozenges before the third show at this venue in 3 nights, tonight.
The Holy Bible was played as a three piece, with a great deal of focussed sentimentally and raw primal power. Something that was quite outstanding to witness. James in his sailor suit, a make-up less Nicky Wire (he left his bag in his hotel room) and the ever solid as concrete drumming of Sean Moore. Long lost Richey Edwards was on everyone's mind and particularly that of the Band. These cannot be easy shows to put on for them.
After the 10 minute interval the band expanded to the touring 5 piece and delivered the hits and misses. A cracking show and one that will live in the memory for quite some time. Saturday night headliners at Green Man 2015 seems only appropriate!
Pete
The Holy Bible
Intro of Faster (Chemical Brothers's Remix)
Yes
Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart
Of Walking Abortion
She Is Suffering
Archives of Pain
Revol
4st 7lb
Mausoleum
Faster
This Is Yesterday
Die in the Summertime
The Intense Humming of Evil
P.C.P.
Interval
Anthem for a Lost Cause (JDB-Acoustic)
Motorcycle Emptiness
Dreaming a City (Hughesovka)
You Stole the Sun From My Heart
1985
Europa Geht Durch Mich
If You Tolerate This Your Children Will Be Next
Donkeys
Futurology
You Love Us
A Design for Life
- Live Reviews
Originally from Philadelphia and now living in New York, Damon McMahon aka Amen Dunes's stage presence is not immediately apparent as the band shuffles through the crowd and quietly onto the intimate stage of the 100 club. Accompanied by lead guitar and sparse delicate drums, Damon himself plays an old Gibson Semi-acoustic through a high reverb Fender Electric guitar amp, giving him a signature gritty but dreamy sound when matched with his layered and distinct vocal style.
Often described as Lo Fi Psyche or Folk, I heard an intricacy and depth to their sound which was extremely engaging and almost trance like when the drums became heavier. Damon himself refreshingly embodies a nomad figure, a true artist who is inspiringly detached from the modern world. If you listen or not he would still be making the music he loves and that in itself makes him an intriguing figure. His charisma however, is not overwhelming and he clearly feels more comfortable belting out a vocal from the depths of his belly than filling time between songs for tune-ups.
His vocals are the key, such is his singing style and use of reverb that only occasional words are decipherable but the sentiment is clear in every one. Most songs were from new album 'Love', released through the 'Sacred Bones' label, the first studio album from an artist who has expressed discomfort with the usual recording process, previously preferring to use home recordings on a Tascam 4 track. On first listen I was mesmerised by the album, I see optimism and honestly, a unique sound that transcends time and I'm so glad it's been captured and produced well.
Check out new single 'Lonely Richard', the epitome of his sound and the highlight of the set for me.
Thomas Cavanagh
- Live Reviews
Tonight was the last night of over two years touring for The National and this was their biggest ever show in the U.K.
Wild Beasts were the classy support for the gig as they ran through their latest album. A headline band in their own right this was a special treat.
Over recent years the stage set up for The National has expanded from a curtain backdrop to video screens to now gigantic video screens and full on arena lights, there are now it seems, a lot of people who like The National. Job done? Let's just secretly hope after a good rest the band return, romantically to the smaller venues and intense shows.
Don't however get the impression that there was any disappointment with the O2 show. This was a celebration of everything the band has achieved over the past fourteen years including trips back to the 'Cherry Tree' album and the inclusion of Surfjan Stevens in the band for the night and Nico Muhly appearing on 'About Today'. Only Annie Clark was missing (most probably exhausted after her own St Vincent touring) as she occasionally appears with the band.
A mammoth set of twenty six songs seemed to flash by. The band was in a very humble frame of mind, genuinely thanking everyone throughout the show for helping them to this stage of their career but as usual, chat was minimal and it just one song after the other and really one giant sing-a-long.
Let's hope the band are back and refreshed and raring to go again in 2016!
Pete
Set List
Don't Swallow the Cap
I Should Live in Salt
Mistaken for Strangers
Bloodbuzz Ohio
Sea of Love
Demons
Hard to Find
Afraid of Everyone
Conversation 16
Squalor Victoria
I Need My Girl
This Is the Last Time
Guest Room
All the Wine
Slow Show
Sorrow
Pink Rabbits
England
Graceless
About Today
Fake Empire
Encore:
Ada
Mr. November
Terrible Love
Vanderlyle Crybaby Geeks
- Live Reviews
Arriving at the St. Pancras Old Church feels a bit like midnight mass, all very shush and quiet as you walk in, until you're greeted by a man serving cider and beer. A first for me!, in a church that is. I arrive at the end of the opener Maria Byrne's set. I feel slightly out of place as the rest of the very attentive and quiet crowd have been coerced into a sing/hum along which I have to sit out.
Next the far more engaging Lisa O'Neil, stamping the floor and singing initially acappella, her rich Irish tones fill the room and remind me of beautiful Irish places that I've sadly never been too. The listenability of good folk music for me is the clear history and geographical identity of the songs passed through generations. O'Neil adds to this with her insightful storytelling and charming banter. Making everyone pull out their phones and Google how many days old they are after explaining she did exactly that after seeing the new Nick Cave Documentary '20,000 days on earth'.
Finally eagerly awaited headliners 'The Lost Brothers' arrive and immediately thank everyone in the crowd for making the effort and selling out the venue. Lead singer Oisin Leech quips that he thought just his Mum would be there. Again the boys charm the crowd with beautiful harmonies and incredible duel guitars, the highlight of the set for me being a cover of Bob Dylan's 'Corrina, Corrina'. Not being much of a Dylan fan I'm always amazed how covers always sound so great to me, they made me go home and instantly listen to their version. By the end of the show the crowd were left warmed and uplifted by the Brothers heart-warming tones and beautiful arrangements.
The gig marked the end of their current tour of New Album 'New Songs of Dawn and Dust'.
Thomas Cavanagh
- Live Reviews
I did not know what to expect from 'Asteroids Galaxy Tour' having never heard of them before being asked to pop along to Oslo in Hackney on a recent Monday evening to review. Cynically I thought I might be able pigeonhole them with other pop influenced Danish bands, their main claim to fame being the single "Around the Bend" featuring on an apple ad back in 2008, I was steadying myself for some everyman toe tapping.
From the outset these guys were different; they had the grit and edge which is sometimes a little lacklustre in Scandinavian pop acts. They opened with bassist and co-writer Lars Iversen steadily grinding out simple but effective bass lines to soul and disco beats. Lead singer Mette Lindberg, now 30 but with all the zest of a 20 something, jumped around and engaged the crowd immediately. With a mix of 70's glam and soulful tones, she is an icon and easy to see why they once supported the late Amy Winehouse on tour.
Touring their new album 'Bring Us Together', it is clear AGT have a core following of fans that wait expectantly for the hits but love the new material as well. The crowd around me was an unusual mix of middle-aged men and teens all gawping at the Danish Temptress. The rest of the band if you avert your gaze, look a somewhat weird collective who may have formed their band at a Copenhagen bus stop. The Keyboardist reminding me of Steve Coogan's 'Paul Calf' with adidas zip up top and Mancunian mullet to match as he filled the space in between with space age noises and clavinet chords.
Overall a very engaging band with plenty of punch, however I feel their efforts were pushed to greater heights by an enthused but very loyal fan base. AGT could put on a show anywhere and I feel these same 200 people would turn up; these days that's a great recipe for success and a promoters dream.
Thomas Cavanagh
