- Live Reviews
I first started paying attention to `Neutral Milk Hotel’ as the album, ‘In The Aeroplane over The Sea’ began appearing in the bargain bins in most record stores. The cover become second nature every time you went into the store and one day, I just brought it.
So having missed the band the first time around, constant playing of the album sparked by interest, my enthusiasm and my regret at having missed this band live.
Then came the Jeff Mangum solo shows at the Union Chapel in March in 2012 which were just fantastic and A Hawk and a Hacksaw gig in Cambridge with drummer Jeremy Barnes and his wife Heather Trost . At that show I did start to wonder what if? ……, well, everyone else is …. and here we find ourselves at The Roundhouse on a Wednesday in May for the return of Neutral Milk Hotel.
Lætitia Sadier of ‘Sterolab’ and band provide a classy introduction to the evening. A band to see in a smaller venue for sure!
The white light flashes on the sound desk and the lights dim at 9.20pm and the truck driver /Roadie figure (beard, cap, baggy jacket) of Jeff Mangum strolls onto the stage with his acoustic guitar and kicks into a solo ‘Two-Headed Boy’.
Jeff’s voice is in fine form, strong, powerful and clear. The band (4-6 members at various times) enter for ‘The Fool’ and blast away with their songs for the next hour in a frame of mind that can only be described as joyous. The musical armory of the band, tuba, bagpipes, saw and well as more conventional instruments just circle the airwaves of venue all night.
The sound is pretty much perfect and the smiles wide. Two thirds of the way though the band depart again for a Jeff Magnum solo of ‘Oh Comely’ which is actually a marvelous performance of the song that sent the shivers up the back of your neck.
This was an unmitigated triumph for the band, lets hope the smiles are as wide at the end of the tour from the stage.
Pete
Set-List
Two-Headed Boy
The Fool
Holland, 1945
A Baby for Pree / Glow Into You
On Avery Island / April 1st
Gardenhead / Leave Me Alone
Everything Is
The King of Carrot Flowers, Part One
The King of Carrot Flowers, Parts Two & Three
In the Aeroplane Over the Sea
Naomi
Ferris Wheel on Fire
Oh Comely
Song Against Sex
Ruby Bulbs
Snow Song, Part One
Encore:
Ghost
Two-Headed Boy, Part Two
Engine
- Live Reviews
Tonight was due to be Slowdive's first gig in more than twenty years, but even an unannounced warmup show the night before renders it no less special for the fans packed into the Village Underground venue in Shoreditch to witness the big reunion. As leading figures in the early '90s 'shoegazing' scene the band were as much loved by their devoted fanbase as they were derided by a music press increasingly obsessed by the sordid glamour of US junkie rock.
Slowdive recorded three albums only before the inevitable split, but the reverence with which they are treated amongst a new generation of musicians and fans, and the speed with which the tickets for this sold out show were snapped up suggests the band will have the last laugh.
Despite our queuing outside the Village Underground well before the announced 8pm stage time of support band Young Husband the venue somehow contrive to open the doors late and then take so long to check and process tickets that we miss half of the support set. A subsequent twitter exchange with the venue suggests this was down to the band's management (which band I wonder?), but it's still annoying when you've sacrificed that extra, reasonably priced, pint in the pub to go in.
Anyway, I can hear the influence of Slowdive, and even more of the spikier Ride in Young Husband's effect driven guitar sound. There are a lot of bands ploughing the particular furrow right now, but there's enough in their driving live sound and the songwriting to suggest these guys can stand out from the crowd.
Slowdive take to the stage to the strains of some Brian Eno elevator muzak (Deep Blue Day) and, after a bit of FX pedal fiddling launch into 'Slowdive' from their first EP. I'm immediately struck by how good the sound is. The band's sound is so dependent on the washes of guitar sliding over the ethereal vocals, it has to be spot on, and tonight it is. The third song in, the beautiful 'Catch the Breeze' from debut album 'Just For a Day', sounds stunning, all chiming guitars and hazy vocals; everything that was good about this band encapsulated in one song, it really hasn't dated at all.
Despite it being more than two decades the band don't seem rusty. Neil Halstead may have replaced the cherubic choirboy look I can recall from early '90s gigs with more of a mountainman beard and shaggy hair combo, but the guitar sound seems to come back naturally and the vocal harmonies with lead singer Rachel Goswell work a treat. The fact the pair continued working together in Mojave 3 doubtless paying dividends.
Second album 'Souvlaki' is well represented tonight, 'Souvlaki Space Station' and the closing 'Alison' showcasing the poppier angle the band pursued on that record nicely. It's a sensible choice as these songs work so well live, but I can't be the only one left wishing that they'd played more than one thing off their sublime debut album. They've a world tour ahead of them though, so doubtless the opportunity to work through the back catalogue will present, and there's even talk of recording a new album.
Welcome back Slowdive! It's been too long, and you have been missed.
Now for that long awaited Ride reunion?
Matt
Set:
Deep Blue Day
(Brian Eno song)
Slowdive
Avalyn
Catch the Breeze
Crazy for You
Machine Gun
40 Days
Blue Skied an' Clear
Souvlaki Space Station
When the Sun Hits
Morningrise
She Calls
Golden Hair
Encore:
Rutti
Alison
An Ending (Ascent)
(Brian Eno song)
- Live Reviews
Approaching forty years of gigs and this was my Tori Amos show. I really went more out of interest than a burning love of her back catalogue but, the end result was 'I was Converted'.
First off we had the charming and magical Trevor Moss and Hannah-Lou. From London and three albums down the road, it was nice to catch up with the pair. Vocally superb they harmonise together around one mic with two acoustic guitars. 'Cheap Wine' is still the classic. Headline tour is planned for September, dates are HERE.
Sitting in the middle of the 'Toriartti' there was a lot of speculation around the set list going on and a will she, won't she play Metallica's 'Nothing Else Matters' or, not? (She did). On stage at 9.10pm and running late because of problems with her leather trousers (apparently), Tori Amos plonked herself down legs astride the piano stool with a keyboard one side and piano the other. The keyboard gets replaced for an organ towards the end of the set.
The first segment of the concert was quite outstanding. Just the solo voice and piano, 'Parasol' opened the set followed by 'China' which had only been play once on the tour before. Songs came forth from various albums but sung solo (She can even play the piano with one handed behind her back) they had an heartfelt intensity.
The 'Lizzard Lounge' section is the 'covers' part of the show which starts tonight with a rather tasty version of the aforementioned Metallica's, 'Nothing Else Matters'. Only the second time she seems to have played this song live (Italy 2008 being the first), this brought a standing ovation amongst her most ardent followers in the audience. Cat Steven's 'Moonshadow' was the second cover (last performed in 2011).
Back to her own material, ' Forest Of Glass' (the additional song on the deluxe CD/DVD version of Unrepentant Geraldines) was performed for the first time, leaving me wonder why the song did not make the standard album as well.
The songs continued through to the encore where a look back even further over the shoulder brought 'Cornflake Girl' (would have been better acoustic without the drum machine), 'Baker, Baker' and 'Pretty Good Year'.
It was certainly more than a 'petty good' gig indeed much of it was spellbinding but, not being a Tori expert I have no previous concerts to compare it too. There were however, many smiling faces exiting the venue at the end of the gig.
Pete
Set List
Parasol
China
Caught a Lite Sneeze
Little Earthquakes
Cooling
Jamaica Inn
Black-Dove (January)
Nothing Else Matters (Metallica cover)
Moonshadow (Cat Stevens cover)
Forest of Glass
Mother
Tear in Your Hand
Scarlet's Walk
Take to the Sky
Encore:
Cornflake Girl
Baker Baker
Pretty Good Year
- Live Reviews
Nestled in-between the endless Manchester University buildings along Oxford Road sits The Deaf Institute, renamed from its original purpose as an institute of learning for the local deaf and dumb. It is a 3 storey building comprising of a couple of bars, one serving food, and a relatively small music venue at the top, holding around 400 punters.
First up tonight is London outfit My Sad Captains who have their third album ‘Best of Times’ to promote. The band quietly takes their place on the stage and launch into new track ‘All Times Into One’ from Best of Times. Only about half the capacity is in front of the stage for their 6 song set, with 4 of them coming from the new album, however each song brings a growing intensity to the atmosphere and the crowd were appreciative at the end. MSC have this quietly melodic melancholy to their music and are improving with each album, and they certainly deserve a larger audience than this.
Shearwater take the stage just before 9.30, but without iconic drummer Thor (busy touring with Swans at the moment) and the atmosphere ramps up a significant notch. Focus is all on the extraordinary voice of Jonathan Meiburg (still my favourite rock star ornithologist) as they kick off with ‘Hidden Lakes’ from The Golden Archipelago album of 2010.
As a genuine nature lover, the next couple of songs are from last original studio album ‘Animal Joy’ before following with ‘Rooks’ from the album ‘Rook’. JM takes time out now to adjust his overdrive setting on his amp as he was threatening to "reduce the building to rubble". With guitar suitably adjusted and turned down, they now head into ‘Home Life’, inspired by his upbringing in suburban Baltimore. The song allows JMs tremulous voice to take centre stage and what a voice it is. Easy to admire on record, it almost seems impossible witnessed live.
The rest of the set is a mix of old songs and tracks from their recent covers album ‘Fellow Travellers’, where they decided to record one of their favourite songs from a band who they have toured with over the years. Nice idea and a pleasant enough album, but didn’t satisfy my desire for new material. (That's coming by the end of the year apparently, with a sound unlike anything they have put out to date)
Wrapping up with a 3 set encore, ending on a Clinic cover, they leave the stage and the crowd leave the venue satisfied with their fix of Shearwater, however can't help feeling its just a taster for new album to come.
Keith @kjsmith4082
- Live Reviews
Deep in the Calderdale Valley, somewhere between Halifax and Burnley is the lovely little town of Hebden Bridge, known for its artists, canal and alternate lifestyles. It also has the fabulous little venue of The Trades Club which is a not for profit organisation, run by its members, and max capacity of approx 200.
On an awful monsoon like night, newcomer and fellow Loose Music artist Vikesh Kapoor takes the stage with acoustic guitar and mouth organ for company.
Supporting his recently released debut album ‘The Ballad of Willy Robbins’, Vikesh announces that it's his first venture into Europe and expresses his appreciation to The Handsome Family for the support slot.
Vikesh's voice is somewhere between an early Bob Dylan and Woody Guthrie, and he almost resembles that early fresh faced Dylan look. With thumb pick on, he strums away through debut album, the central theme inspired by the sad story of a construction worker who suffers a serious accident then watches his life slowly fall apart.
The songs are engaging and story like, and Vikesh himself is an accomplished finger picker. His chat with the crowd also engages him, especially when he tells the crowd he bought his shirt from a charity shop in the town!
Despite the inclement weather, the temperature inside the venue is almost tropical, and even Brett Sparks, on stage with a couple of fans helping out is struggling and the only thing he has got to mop his brow is a bandana.
Accompanied by wife Rennie and a virtually invisible drummer, they begin the night with ‘My Sisters Tiny Hands’. The 3 minute or so songs zip along with their banter with the crowd which is after virtually every song and sometimes hilarious.....Rennie at one point suggesting how much Brett's family drink at Xmas. This did get me thinking about perceptions we have about bands...I have been buying The Handsome Family releases since Twilight and have read and heard lots of opinions about them, including how odd they were and that they are the Morticia and Gomez Addams of country music. I expected this in their performance, but it couldn't have been further from the truth.
The night slipped past so quickly until Brett's sonorous baritone said its last goodbye and we left to get some fresh air. My only disappointment was that they only played one song, Frogs, from latest album Wilderness however they did get in Far From Every Road, now used as title track to US series True Detective.
All in all, an excellent night at an excellent venue. Both artists vowed to return to Hebden Bridge so fingers crossed its sooner rather than later.
Keith @kjsmith4082
- Live Reviews
It is an achievement to get eight people onto the Portland Arms stage in Cambridge let alone pull off a captivating gig with plenty of on stage jumping around.
The main man behind San Fermin and their sweet collection of songs is Ellis Ludwig-Leone who is tucked stage left in the corner behind his keyboard and snare drum. The remaining seven members of the band Allen Tate, Charlene Kaye, Rebekah Durham (Violin), John Brandon (Trumpet), Stephen Chen (Sax), Tyler McDiarmid (Guitar) and Michael Hanf (Drums) light up the stage.
Singers, Charlene Kaye and Allen Tate with his Tom Berninger like baritone hold centre stage harmonising or solo on vocals. There is solid musicianship throughout the band and a genuine humbleness, that the audience had taken the time out to see them.
Falling somewhere between The National, Arcade Fire and Dirty Projectors, the songs are well paced to keep the crowd engaged even the three new ones introduced tonight (and yes they will be on the new album).
A thoroughly entertaining night. This band should go far.
Pete
Charlene Kaye
- Live Reviews
First up, this is a great 'band' which includes guitarist Seye, who seldom stood still. The dynamic Gorillaz Sound System drummer Pauli the PSM, whose performance really has to be seen to be belived, bassist Jeff Wootton and keyboardist Mike Smith. Also, what a lovely intimate venue for a global megastar returning to his East End roots.
It's a wet night in the East End but, after a queue down the Mile End Road and a warming beverage we are all ready for the (no support) start at 8.45 pm.
Damon always keeps things in perspective and this was just like, a pleasant way for him to introduce the new band and songs amongst mates on his home turf (any sign of a gig in Colchester next?). For ninety minutes we are treated to a set, turning the pages of Damon's musical career or, as much as can be fitted into ninety minutes together with, the new songs, that already are pretty much old favourites in our subconscious.
Gorillaz, The Good, the Band and the Queen and his other band, the songs flowed expertly so, by the time Kano hit the stage for Clint Eastwood the place was rocking. Lots of gentle moments too, Heavy Seas of Love", which features Brian Eno on the LP (Damon commented that he really hopes Brian will sing the song with him live sometime) was sublime with a gospel choir joining in, as they did on Mr. Tembo (described by someone in the queue outside as Damon's 'Yellow Submarine')
The billboards for the new record 'Everyday Robots' refer to Damon as one of the most important songwriters of his generation'. He certainly continues to climb an eclectic musical route to greatness.
Blur's 'This is a Low' finished the evening with Damon on piano and the ever present strings section. This actually is a new high! A summer of festival shows ahead, do try and catch one, you won't be disappointed.
- Live Reviews
Saturday night saw a six band bonanza at a venue I'd not experienced yet, the sprawling Hop in Wakefield.
Headliners were the fabulous Nine Black Alps with the other bands on the bill being made up from local label Philophobia Music stable including The Do's, The Spills and The Ainsley Band. Jammed in the middle of this line-up was Tony Wright, ex of And So I Watch You From Afar, and now performing as solo artist VerseChorusVerse.
By his own admission, he was the only acoustic artist on a rock bill, and expressed his sympathies for the 20 or so gathered at the early slot of 7.20. I did fear for him as he started because people were either chatting, getting drinks, or generally waiting around for the headliners, however after urging the meagre gathered to move closer, it started to feel like an intimate personal performance.
Kicking off with songs from his excellent eponymous debut, the lack of backing band didn't seem to matter as he is one talented guitarist. Tony is a tiny Irishman, with a shock of curly red hair, and what a set of lungs!
Considering his previous band were instrumental, he obviously felt the need to break free and get his voice heard. Between songs chat was funny and engaging and the crowd grew and warmed to him as the set rolled by. Halfway through, out came an acoustic Fugazi cover, a deliberate deference to the taste of the audience which went down well.
A couple of my favourites from the album weren't played, I guess not particularly suited to one man and his acoustic guitar, but this didn't matter as the woefully short half an hour sped by. Even a string coming loose mid-way through the closing track didn't matter as he signed off with another cover.
So, a thoroughly nice guy, an excellent debut album and a talent that meant he certainly held his own amongst an electric bill. I just hope he gets chance to play larger crowds sometime soon and get his music more widely heard.
Keith @kjsmith4082
VerseChrousVerse's debut album is available on itunes
- Live Reviews
I was really looking forward to seeing Wolf Alice who are support for selected dates on the current tour. Approximately one minute before curtain up there's a loud bang from the stage and the PA dies. Twenty minutes later Wolf Alice finally appear and put in a stormer. Lead singer Ellie Rowsell has a Chrissie Hynde-like cool about her and the tunes remind you, topically as we're apparently celebrating 20 years since Brit Pop, of a heavier Lush. Everything positive you've read about Wolf Alice is correct so go check them out at your earliest opportunity (on tour in May).
“ I hate purity, I hate goodness, I don't want virtue to exist anywhere” John Hurt as Winston Smith from the film of George Orwell's 1984; the intro to the squealing guitars of 'Faster' from 'The Holy Bible' also celebrating its 20th birthday this year, starts the Manic Street Preachers set tonight. The stage has a giant video screen behind the (5 piece live) band, there's the usual Welsh flags on the bass amps but for the first time I can recall no feather boas on bass player Nicky Wire's mic stand.
After 3 singles 'Your Love Alone Is Not Enough', 'Motorcycle Emptiness' and '(It's Not War) Just The End of Love', we get the first of two tracks from upcoming album 'Futurology' called 'Europa Geht Durch Mich' an electronic, industrial Depeche Mode-like track and the album's title track, both indicate that 'Futurology' could be the nasty post punk, disco, rock antithesis to the largely acoustic, tender and reflective 'Rewind the Film' which has been promised.
With the screen showing the videos to early singles 'Motorcycle Emptiness' and 'You Love Us' you are reminded of the lyrical and physical space left by Richey Edwards as stage left has remained unoccupied since his disappearance. Nicky dedicates 'Archives Of Pain' “some of the greatest lyrics ever written” to the absent guitarist and it's good to see his dedication is met with warm applause from those sections of the audience with pre-'Everything Must Go' memories.
The set closes with '30 Year War' the most obviously political song from 'Rewind The Film', “..and the endless parade of old Etonian scum, line the front benches “so what is to be done” ”, the riff from The Skids 'Into The Valley' is used as the intro to a blistering version of 'Motown Junk', and as usual 'A Design For Life',with James and Nicky hopping and scissor-kicking along to footage of Royal Ascot, the Miner's Strike, and The Last Night of The Proms used to illustrate the song's lyrics.
As the years go by there may be less animal print, eye-liner and feather boas in the audience and on stage, but unlike other bands of a similar vintage the Manics happily celebrate and embrace their past, present and future(ology).
Alisdair Whyte
- Live Reviews
Restorations / The Smith Street Band / Astpai - Portland Arms in Cambridge Easter Monday 21/4/14
Punk today has less confrontation but the attitude is still there, helped by worldwide social networks…3 bands who knew and admired each other, found they were all playing at the wonderfully-named GroezRock punk festival in Belgium…and decided what the hell, lets hire a van and do a European tour as well!
Astpai – Austrian, the most traditional punk sound, could have been made in 1977. Great t-shirts!
The Smith Street Band – Australian, described as ‘folkpunk’, perhaps because one has a beard. And maybe because amongst their merch they have no less than 3 different-coloured woolly hats with their name on. Sadly neither the band or audience are wearing them. Aligned to Frank Turner, with lots of fans shouting along to inspirational/storytelling lyrics. Most popular band tonight.
Restorations – US headliners, like a cross between the Hold Steady and Explosions in the Sky. Lots of guitar lines, articulate lyrics, serious stuff.
A great turnout despite/because of the weird 6.30-9.30pm timing, a great way to end Easter, and we all went home feeling young and energised again!
Kevin Hand (@Kevinhand3)
- Live Reviews
- Live Reviews
I fear that I may have cursed Paul Smith lead singer of Maximo Park. During a previous tour I witnessed him being ''violently ill'' on stage mid-song, though being the true pro a quick wipe and he carried on to finish the song. Tonight he wears rock star dark shades throughout which he explains are not “too cool for school” but for medical reasons due to a recent eye operation.
Opening tonight's show is Teleman, a 4 piece from London (ex Pete & the Pirates) with Stereolab-style synths and guitar pop tunes sung with falsetto vocals which build into epics as they progress. They have further high profile supports with Franz Ferdinand and Metronomy coming up and their first album is released in May.
“Hello Rock City and we're here to rock”, Paul Smith appears healthy enough tonight. Maximo Park recently released their 5th album 'Too Much Information', which although more electronic-based continues their tradition of angular, wordy songs about relationships with strong melodies and more than a few shout-a-long choruses.
Smith comes on wearing his usual suit and hat combo, tonight's choice being a fedora (not a trilby, please take note reviewer from Nottingham Post); his vocal and the band crashing into the throbbing synth of set opener 'Give,Get Take' from the new album. Crowd favourite ' Our Velocity' from 'Our Earthly Pleasures' is played early on the crowd supplying the “Love is a lie, which means I've been lied to. Love is a lie, which means I've been lying too” end passage.
With Paul Smith leaping on and off the stage monitors, punching the air and throwing rock star shapes they have a genuine front man who's happy to engage the audience ;when the band have to stop and re-start the intro to 'Signal and Sign' he jokes “Did you enjoy that one? Our songs get shorter...”
Whilst the set leans heavily towards the new album, stand-outs being 'Lydia, The Ink Will Never Dry', 'Drinking Martinis' and 'Her Name Was Audre', tracks from all 5 albums are played, and when most Maximo Park songs weigh in at about 3 minutes you get plenty of them for your ticket price.
Closing with the big hitters 'Girls Who Play Guitars', 'Apply Some Pressure' and the epic building 'Midnight on the Hill' from the new album gets the crowd going with mini mosh-pits appearing down the front. Disappointingly they let the mood drop with the first encore choice of mid-tempo 'Where We're Going' but finish triumphantly in a blaze of lights and flailing arms in the crowd with 'Going Missing'.
It's probably the strength of their songs and the energetic live performances which means they've outlasted many of their contemporaries and curses aside expect to see Maximo Park, hats and all for a long while to come.
Alisdair Whyte
