LIVE *2
Dogs / The Gravity Crisis / Model Morning
@ The Social
What a bloody great night of energy packed guitar based indie rock!
First up were Nottingham’s Model Morning, with a goth rock feel, plenty of emo and plenty of good old frenzied guitar action, strident bass lines, pounding drums and awesome vocals.
It was an all round fantastic sound, highlighted for me with their song about how it feels to live in Nottingham (‘I Don’t Feel Safe In This Town’) and a much better set than I saw them perform at Rescue Rooms recently. On this performance, I can’t wait to see them again.
The Gravity Crisis, from Birmingham, are a band I’d never seen but another that I can’t wait to see again. JP White held the audience in the palm of his hand, including between songs, with his presence and self-deprecating view, introducing one song with: ‘This one’s about Formula One,’ (silence) ‘I don’t like it, it’s a bit fucking boring.’ If you like fast paced, loud indie with guitars fighting for chord space, go see them now.
Dogs are one of the favoured bands of the moment and it’s easy to see why on this showing, with a real cross section of ages letting themselves go and throwing themselves around in a hot a sweaty Social. For all that, I felt as if they were following a formula of ‘this look works, this sound works’ and that’s just what they did, and it did work.
It’s the equivalent of what our parents’ generation would call ‘easy listening’.
Now, maybe Nottingham has gig-goers who are keen to follow the fashion as The Social was much busier than it has been for many gigs I’ve been to but although Dogs were a tight unit, it was the support bands who actually moved me.
Simon Clark
Dogs / The Strand / Afterglow
@ The Lamp, Hull
Promoting their upcoming album 'Tall Stories from Under the Table' Dogs took a trip to The Lamp with locals: Afterglow and The Strands. It's safe to say Afterglow are well and truly dedicated to Hull with a set-list where almost every track has a local story behind it. Which Matt (vox) vaguely outlines before throwing his all into ‘nothing more than a one night stand’ – the opening lines of their track, 'Welly'.
After bringing the crowd away from the bar, Afterglow set the night off to a bloody good start; some would say a tough act to follow but The Strands took it all in their stride. With bright red jeans you get the idea that Dean (vox) could have a bit of confidence but that's nothing until he gets up and sings like there's no tomorrow, brilliant to watch even without the sound. With tracks like ‘She's a Woman’ and ‘Hanging Around’ I'd challenge anyone that would claim to be able to stand through The Strand's set without tapping their toe, never mind clearing the floor and dancing with moves that – to be honest – should be confined to being alone in your bedroom after a couple of pints.
‘Here's to the lonely old soldiers!’ Arms in the air and chanting along to ‘Soldier On’ as Dogs get their set to a start with Johnny sporting his polo shirt and bottle of Stella; saluting the crowd accordingly. Johnny kicks about the mic stand, spits out the lyrics, and taps a tambourine against his head for added effect. But just as it seemed to be getting somewhere it was over. A bit of a kick in the teeth I'd say – a good show, if not a bit rushed?
Olivia O’Connor
Dot to Dot
@ Various venues, Nottingham
The weather did its best but nothing could have spoiled this feast of music on Bank Holiday Sunday (except the occasional huge queues).
After an unbelievable queue to get in (while those purchasing tickets on the day were able to walk straight in – work that out!) it was straight into the almost tribal sound of Local duo I Was a Cub Scout had the no doubt daunting opening slot on the main stage in rock city. Their soft synth pop provided a delightful opener to the festival. and as these two are the darlings of Nottingham’s electro / emo scene, it was met with reams of cheering encouragement from the crowd. No-one could ever accuse these guys of writing songs that all sound the same – top start and it’s only 2.45pm.
A short trip to the Social to see Blood Red Shoes and it turned out that pretty much the whole of the festival had decided to do the same. People were literally cramming themselves in to see this lo-fi punk duo and, after a slightly slow start, it proved worth it. Highly energetic for a two-piece, Blood Red Shoes were easily worth the lack of space and oxygen.
Down to the Rock City basement for Birmingham’s Sunset Cinema Club. Is there such a term as ska-indie? If not, there should be for these – and a top crowd they brought with them too.
Manchester’s The Whip created an interesting and entertaining sound of dance music played on guitars. Even if this set was slightly too calm (possibly because it was so early), the band have the tunes and understated persona to go far.
Back upstairs for Help! She Can’t Swim to catch the end of their set and they sounded much better than their Social gig recently with a bigger sound in the bigger venue.
Same room, and Pull Tiger Tail followed their amazing Rescue Rooms set the night before with another great performance – final song ‘Automatic’ was just awesome!
Main Hall again for Foals – much hyped, all the songs do sound the same, so what? It’s a bloody great song. My summary of ‘bouncy guitar indie pop’ prompted a right old genre dispute so make your own minds up, but have a listen for yourselves and enjoy.
A walk in the rain and fresh air to The Social for Emma Pollock and an indie folk set. Gentle guitar songs had a laid back feel but she still knew how to find an edge that most don’t.
Acoustic singer-songwriter Karima Francis gave me my first visit to gig at Lee Rosy’s Tea Rooms and a strange feeling of drinking Earl Grey while listening to a great new singer – how civilised.
Back in the Social again and Leeds band Sky Larkin made the sizable crowd smile with their beautifully constructed guitar pop. Despite the band forgetting essential pieces of equipment, the gig was actually a big success.
A very big crowd collected at the Trent Uni downstairs for Architecture in Helsinki. Unfortunately, their set was marred by a weak sound and overall was a little disappointing.
Back to the Rescue Rooms for Kid Harpoon’s energetic indie/folk rock – I’d have loved some hooklines to hang on to, but it was a good sound.
Upstairs at Trent Uni, We are The Physics draw one of the smaller crowds of the day but those who did turn up were in for a treat. Matching their Futureheads-on-speed musical style with great and bizarre showmanship such as near perfect freeze frames and pausing mid song for the singer to push up his glasses, this was excellent for their first ever Nottingham gig.
Nottingham based band Late of the Pier wowed Rescue Rooms later with their very weird but truly excellent songs. The band seemed more mashed than everyone else put together yet still managed to play their original and catchy songs using such instruments as bed slats and a something resembling an old school game boy. Very good stuff indeed.
Downstairs at Stealth, there was a Brazilian party of three whipping the crowd into a frenzy. Bonde do Role mixed and mashed guilty pleasures such as AC/DC and the Grease soundtrack with primal beats and Portuguese rap. It should be utterly naff but it was actually one of the gigs of the day, ending in a jubilant stage invasion.
Finally, for me, back to Rock City where I couldn’t get into the basement so headed for the main hall to catch The Cribs. They’re obviously a decent indie rock band and new single ‘Men’s Needs’ is brilliant, but I’m not sure if I’m missing something here?
All in all, another top day of Dot to Dot fun.
Simon Clark, Gavin Williams and Lauren Evett
Duels / Laura Groves / Monty Casino /The Analog Bombs
@ St. George’s Hall, Bradford
Launch night of BD1LiVE, a collaboration between MONO, Granadaland and Bradford Council. This is an exciting recipe; a fine mixture of unsigned local bands, add in the richness of a signed crowd-puller and decorate with the beauty, grandeur and acoustics of St. George’s Hall; it should be delicious.
Bradford’s baggiest The Analog Bombs look chuffed to be here. Looking not unlike the Blues Brothers, they set the night off with sixties inspired psychedelia and ska. I Iove this band because they love what they do and they do it for the laugh, no pretension here.
When Monty Casino come on stage, I’m worried for them, it’s probably my maternal instinct kicking in, they’re only young after all and I know they’ve got a lot to say for themselves. However, a couple of songs in and they owned that stage with their unique blend of politicised post punk DIY fukkery. They’re developing into a composed, confident act and I sincerely hope they baffled people tonight, in a good way.
Laura Groves looked wee on that stage but not for long. You could’ve heard a pin drop during her set, with all entirely mesmerised by her presence. Influenced by Joni Mitchell, likened to Regina Spektor, she moves effortlessly between guitar and keyboards and soaring vocals that stay with you for days. The atmospheric ‘Coast’ was astounding on the ears and on the mind, I floated off to Whitby…goodbye…
Duels are clearly an accomplished outfit, and while they did entertain, with a duet with Laura Groves being a highlight, they didn’t leave a lasting impression on me; I’m told I need longer to absorb their charms.
It was ambitious, it worked; credit to those involved, supporters and to local promoters Rockers and Rollers for co-ordinating gig times; collaborative working, that’s what we like.
Anne-Marie Douglas
Devil’s Jukebox / Dr. Butler’s Hatstand Medicine Band / David Broad
@ The Packhorse, Leeds
‘Can you let me in free please?’ ‘Oooooooh go on then’. I like the Devil’s Jukebox already. Tonight we’re on a journey starting around South Dakota with David Broad, who trades on the bitter humour and soul-wrenching connotations of American folk. An astute balance of intensity and reserve make him beguiling and there’s no denying his talent with the slide. He’s a little clean to be singing these songs, but it’s clear his interest is genuine, mixing old ballads with observations sung through a warm cracked voice. A man who removes his jacket but not his hat. I like that.
Back to Manchester for the Hatstand Medicine band’s brand of waistcoated, straw hat-wearing eccentricity. They combine double bass, guitars, banjos, matching kazoos and occasionally David Broad to create their morally good tunes that are in several instances beyond the pale. Mixing ditties and daft swing blues, they do a good line in woo-hooing, and the fact that you feel you’re having good clean fun is what makes them disconcerting.
We end up in New Orleans – it must be the red filters, smoky haze and unbearable heat. The history of the Devil’s Jukebox is dogged by journalists attempting to out-do one another describing them. A beautiful straight-faced girl plays the suitcase with brush ends, the banjo / ukulele player sounds like she’s known Dr. Bordello far too long and they’re joined by a sweet old man whose clarinet is wailing and pain-shot. They play mournful ragtime blues, ‘20’s jazz and are remarkably tight and atmospheric. I’d call Bordello an arrogant bastard if I didn’t think he’d get so much pleasure from it. When he‘s not snarling remarkably authentic lyrics he’s draping himself over the audience – it’s an affectionate form of abuse. Who’d have thought it could sound so enchanting?
Sophie Kemp
Emma Pollock / Emmy the Great / Gary Stewart
@ Brudenell Social Club, Leeds
Gary took us into the night. Although appearing slightly nervous, he always seems to find himself and come alive in his songs, which is compelling in itself. He does something unusual with sentiment, in the way the songs are down to earth and dreamlike simultaneously, and there remains mystery in that they carry you, leave you feeling enlightened but like you’ve not heard the whole story.
Emmy the Great has this way of appearing very fragile when she’s actually so strong. Delicate vocals build over picked guitars; her voice is pure and clean, the lyrics bright, but spinning tender stories about the everyday and the not so everyday. Good songwriting that is heartbreaking at times.
Emma and her band seem to be all about rhythm. Strong beats, simple and playful roll through piano, bass and drums, though the rhythm of vocals often obscures the lyrical content. The whole thing sounds velvety; in the way velvet is soft, dark, seductive and tough. Very bassy and tight but the songs seem a little indistinct. They use big positive crashing major chords that sometimes take on a sadness; however the melodramatic nature of the music leaves you feeling the emotions are less than sincere; like it’s a front for something. Everything is slightly uneasy, the emotions are strongly put, but twisted out of her. The vocal is often the emotional reference point for things and she feels every phrase that comes out of her mouth. An acoustic number feels better, she seems freer as a person, more like hearing who she really is; lyrical and moving, her voice isn’t trying to fit into the rest of the sound. In the encore they finally seem to get the balance of the band right and it’s the most enjoyable song, a melodic sinister lullaby.
Sophie Kemp
The Enemy / Harrisons / Exit Calm
@ Leadmill, Sheffield
An early start tonight, as it's a very strong three-band bill and there's lots to fit in. Anyone with a long enough memory might remember the buzz surrounding a local band called Lyca Sleep a couple of years ago. After two very well received singles they were tipped for greatness when they disappeared. From the ashes of their demise rose Exit Calm. With their new lead singer they wowed tonight's early arrivals with their brooding sonic assault on the senses, a bit like a dark Stone Roses at times. They had an enthusiastic group of fans down the front but that was nothing compared to Harrisons. To my mind they never fail to deliver and tonight, as ever, is a triumph. They're the tour support for The Enemy, so they'll be gaining some valuable exposure over the next few weeks, but of course tonight they're singing to their home crowd. Every song is greeted with a roar, from the opener Man of the Hour, through Blue Monday to their forthcoming single Dear Constable. Their debut album's release has been delayed again so we'll have to wait a little longer still to see if their studio performance can match the excitement of their live show.
The Enemy explode onto the stage, and their thumping, driving sound gets the entire crowd jumping. They keep up a relentless pace, with scarcely a break between songs as they hit us with one rousing, anthemic song after another. Their recent hit single Away From Here had the entire crowd singing its ridiculously catchy refrain. It's hard to avoid comparisons with early Jam concerts (yes, I did see one, before you ask), but this 30 years on and the emphasis is on 'havin' it'. The bass player even left the stage to join in with the crowd surfers towards the end of their set, such was the party atmosphere. Scarcely an hour from their first song until the end of the encore, but with this sort of high-energy performance, who'd really want more?
Vivian Bonzo, pics by Mark Tighe
Ghosts / Tiny Dancers
@ The Social
Tiny Dancers are a bit confusing. Earnest indie boys who alchemise pastoral psychedelic imagery with a glitter-ridden luminous aesthetic. Yorkshiremen who convey the US West-Coast and Nashville with a very British perambulation. All of this is to their credit. Their set gradually wriggles out of every box I’m attempting to stuff it into. The melodic simplicity and beauty of The Beatles is cut with the lush organic grooves of the Beta Band. A vocal harmonies ‘n’ handclaps number is a smouldering frontier torch song, whereas forthcoming single ‘Hannah We Know’ hurtles forward like Dexy’s Midnight Runners. Highly able, Tiny Dancers are tight without giving way to robotic insensitivity, and their use of capos keep the arrangements taut and bright.
Ghosts are drunk. It’s the last night of the tour and this is apparent in both their high spirits and swish confidence with which they breeze through the songs. The chorus of the recently chart-denting ‘Stay The Night’ positively glows and the university canoeing society types at the front lift their glasses and join in. This, along with the admirably more urgent ‘The World is Outside’ is pretty much the highlight. It’s difficult to put a finger on what’s lacking in Ghosts, the songs are perfectly functional but often stultifying. A cover of the Pussycat Dolls’ ‘Don’t Cha’ (ill-advisedly early in the set) reveals little more than the original’s passable mechanics. It’s a lame gimmick. There are various musical signposts to other acts in their own songs; the jaunty pop of Supergrass, Snow Patrol’s Mickey Mouse emotions and an occasional cheap Arcade Fire facsimile, but in a world populated by the zeitgeist swashbuckle of the likes of CSS and New Young Pony Club, one wonders if there’s any room for Ghosts’ naïve, perfectly-formed-if-dull craft.
Jeremy Pritchard
Graham Garside & Satvinder Sehmbey / Peter Wright / Dave Smith / Peasman
@ Brudenell Social Club, Leeds
I don’t think I’ve ever seen the Brudenell looking so chilled out. Fair go, though, because tonight is all about delicious, interesting music of the less frenetic variety.
Tonight is also one of rarities, the first of which is Peasman, aka Tom Evans from Vessels. Eyes closed, rocking on his seat and making the line “fuck you all” sound so sweet, he shimmies through his set, lulling the audience to still rapture and caressing his guitar to peaceful slumber. Which is why closing with a PJ Harvey cover feels so abrasive; like masturbating after good sex.
Dan Smith looks timid and small behind his oversized keyboard, but with a flourish he banishes any doubts as to his abilities. Calling him a British Ben Folds doesn’t cover it – he doesn’t just write songs, he composes vocal symphonies. Witty, pretty and devastatingly clever, he throws a century’s worth of British vocal wit into the pot and tops it off with the most incredible backing tracks, self-assembled from vocals, keyboard and maracas; the audience erupt with appreciation. Go see; be in awe.
Peter Wright, host with the most, has been unable to play for a while due to pain and, looking at some of the grimaces he’s pulling, I’m not sure if he’s started too early. The music, however, says otherwise; his guitar playing is as delicate as his appearance can be intimidating; his voice has a smoky Eddie Vedder/Gomez quality, but can convincingly falsetto too. He is also loving being the showman, laying on the banter an inch thick, but remaining funny and friendly.
In fact, that’s the best thing about tonight; the atmosphere is so damn friendly. Which is good, because Graham has been known to bolt before a gig; Satvinder looks somewhat nervous behind his tablas. Graham duly arrives and starts up, playing the sort of stuff that would make Satriani sell his guitars. Satvinder is no slouch, either, playing at rhythm-defying speeds. Riffs on ‘Diamonds On The Soles Of Her Shoes’ and ‘Favourite Things’ are whimsical yet staggering and the pair are truly, modestly supreme. Unashamedly indulgent music.
Rob Wright
Happy Mondays
@ Leadmill, Sheffield
The main cross-section of the crowd looks like they can vividly remember Thatcher, the Poll Tax riots and the Hacienda. This is a night where the Steel City’s acid generation are holding a reunion in the Leadmill, and Shaun Ryder, Bez and Gaz Whelan are leading them.
Dad-dancing is prevalent among much of the clientele. However for some reason unbeknown to a young law-abiding citizen such as my self, within the next hour, these dad-dancers suddenly become loose, baggy and euphoric.
The Mondays kick things off with their new tune 'Jellybean,' which sounds similar to Primal Scream in its rock-dance groove. However, it is not until they hear the strings signalling the ode to poor fatherhood, ‘Kinky Afro’, that the crowd greet the Mondays with a welcoming roar. All the classics are played, but in a new song, followed by old song order. Is this to give the new tracks a chance or to give the thirtysomethings a rest after each Mondays hit? 'In the Blood' and title-track ‘Uncle Dysfunktional’ are the best of the new tracks, with the former having an old rock’n’roll vibe to it and the latter oozing quintessential Mondays madness. Nothing though, can beat the live versions of ‘Hallelujah’ and ‘Step On’.
In the centre of the stage standing tall, or leaning on Gaz’s drum kit when he can’t be arsed, is the right reverend Shaun Ryder himself. Ryder looks spot on. Vocally, Ryder is still a bit wobbly compared to his early years, but not like the mess we saw at the Manchester MEN Arena a few years ago. He looks much more composed, standing there like a human HiFi speaker; straight and tall, pumping out smooth and funky rhythmic beats, hit after hit, new tune after new tune.
Bez is a slower version of everything he used to be. It takes two or three songs for him to get back in to it; but the eyes, that crazy drug filled stare were still there. His hand is bandaged, so his Mancunian monkey man swagger is partially curtailed. Bez gives everyone a good view of his moves as he moves crab-like from left to right of the stage repeatedly, throughout the set.
The rest of the band do not fail to entertain and do well in providing the rhythm and groove that the Mondays are famous for.
Liam Ronan, pic by Chris Saunders
Help She Can’t Swim / The Pistolas
@ Satan’s Hollow, Manchester
Appropriately for a band promoting an album titled The Death of Nightlife, Help She Can’t Swim fail to attract a sizeable following on a rainy Saturday evening in Manchester. However, the relatively small crowd still manage to muster a great atmosphere and there is a real sense of excitement in the air.
The Pistolas are up first and their yelp-a-long pop makes for a frenzied front row. With a charismatic frontman who shimmies along to his own songs in skin-tight jeans, this four-piece are incredibly entertaining. However, they also prove to be more than just pretty faces by showcasing a clutch of infectious, shouty pop songs.
It’s soon time for Help She Can’t Swim and we wait in anticipation of their new material. It’s been three years since their first album Fashionista Super Dance Troupe and almost everyone seems curious to hear their latest offerings. As they launch into a noisy aural assault, we soon remember why their debut was such a revelation and pleasingly, it seems that their new songs are even more thrilling. Their special brand of noisy pop has been fine-tuned and perfected, it’s noticeably more melodic. However, this doesn’t mean that they’ve departed from their initial sensibilities and thankfully, the trademark screaming vocals and noisy guitars remain. Frontwoman Leesey is magnetic as she leads the band through a short, sharp set. Songs such as ‘Fermez Le Fucking Bouche’ feature lyrics that drip with irony and when Leesey and singer / guitarist Tom deliver them in unison, the impact is undeniable.
Rumours suggested that the band’s label were reluctant to release a second album, believing the band had limited appeal. However, as tonight’s performance perfectly illustrated, Help She Can’t Swim are back and we need them more than ever.
Victoria Conway
Hiem / Pink Grease / Darlings of the Splitscreen
@ The Leadmill, Sheffield
Hiem are known in these parts for being quite dramatic. Tonight was no exception, as
Sheffield’s favourite purveyors of northern ironic-electronica discarded the whole tour bus idea and instead drew up to the Leadmill in a full sized military tank. Unfortunately, their set never quite lived up to their flamboyant entrance, and I found my first experience of ‘The Mighty Hiem’ live a little bit disappointing. The main duo of Boz and Nikko looked great in their trademark red tassly tracky tops, and the musicians created a hypnotic sound with their beats. The rather small, not as young as they used to be, crowd seemed to love it. I can see why Hiem have become a stalwart of the alternative dance scene, and I bet they brought club-night crowds to a frenzy when they were at their peak, but the atmosphere of the gig from my uninitiated standpoint was one of nostalgia- some old mates getting together to relive the old days. There’s nothing wrong with that, but I wasn’t there at the time so I didn’t feel able to join in the party.
The two young bands that supported them, on the other hand, were full of fresh sounds, youthful energy and some damn good tunes. Pink Grease were something to behold. They filled the Leadmill with their frenetic glam-rock electronic mayhem, and gave us all plenty to enjoy both visually and sonically. Lead singer Rory Lewarne is a performer extraordinaire, with hints of Bowie, Bolan and Blondie, strutting and leaping over the stage like it was his and his alone. Some of the songs were stronger than others, and sometimes they were tight and sometimes they weren’t. I would definitely go and see them again, because the chaos and unpredictability that characterised their set means they will never be the same twice. In a good way.
The highlight of the night came right at the beginning for me. The openers, Darlings of the Splitscreen, brought a selection of sounds from pure pop heaven, and they did it with verve, style, and an attention to detail that sets them apart from other less accomplished bands. I saw the threepiece almost a year ago and liked them then, but I was impressed and delighted by their evolution since. Their disco-influenced electro pop riffs with some lovely harmonies and smart lyrics made me smile, dance and smile again. The gig as a whole left me feeling proud of Sheffield music. Hiem showed what a great tradition of daring pop and dance we have come from and Darlings of the Splitscreen hinted at a glorious, vibrant and distinctive future.
Elly Tams, pics by Andy Brown
Hinterland
@ Rock City, Nottingham
Performing a hard to knock forty minute set, it’s clear why Hinterland have fans like Bruce Dickinson (Iron Maiden) tipping his auspicious hat toward them, referring to them as being ‘a jolly good British rock band’ across the radio airwaves. Tonight’s set list boasts a set of ten well-crafted songs, including their two singles, ‘Got a New Drug’ and their newest release ’Vote With Your Feet’ taken from their long-player, Simian. Amidst the many influences that thankfully don’t seep into the Hinterland sound too obviously are McClusky, Reuben and the Foo Fighters.
Darren’s onstage persona, with his splendid finger pointing gestures and rant raving antics, conjures images of a younger Billy Corgan possessing the body of a current day Matthew Bellamy. It’s good to see a lead vocalist / guitarist with the showmanship to accompany his musical talents. Backed up by Gavin, a real groove monster on bass and a hypnotic and focused Lee on the skins, Hinterlands collective pool of talent runs gratifyingly deep. I can’t knock Darren’s mouthiness, when he maybe righteously proclaims to this enthusiastic and predominantly female forty-strong crowd, ‘You won’t see a better band for £4’.
Their onstage antics tonight include Darren eventually managing to tape the microphone to his sweaty head, before it’s comically and accidentally yanked away by Gavin’s foot. And a slither of accidental revenge as Darren writhes down on the floor, just in time for Gavin to comically trip over his comrade. A song written about an audience member makes its debut and Hinterland close with their song about a boob job recipient!
Hinterland certainly deserve their slice of that illusive fifteen minute pie of fame.
Ant Standring
The Illiodds / Assassins / The Dirty Institute / Secret Squirrel
Broomhill Festival BandFactor @ The Boardwalk
For years the Broomhill Festival has been a great part of Sheffield culture, bringing people together for various events and fundraisers. Tonight The Boardwalk hosted the first Band Factor, a battle of the bands for young Sheffield bands to show off their talents. The night attracted many fans young and old and was judged by Helen Gray of Mosaic Studios, Sandman’s Mark Perkins and Jon Windle of Little Man Tate, all of which were blown away by some of the quality on show.
Of the four bands, Secret Squirrel and The Dirty Institute were the eldest and the most experienced. However, their valuable contributions were overshadowed by two bands nearly half their age, well, not quite but they were very young. First was Assassin who played three covers but then wowed the audience and judges with a track of their own which won them the award for best original song, playing jittery punk pop with great attitude. They were beaten to the top prize of nine hours of recording at Mosaic by an absolutely astounding band.
The Illiodds have only been together three months and are only 13- and 14-years-old, but their song writing skills are better than most bands who have been together for years. This two boy / two girl combo offer up a brilliant mixture of indie / folk and jazzy keyboards on some superb original songs. I was amazed not only by the songwriting but by the incredible vocals provided by Emily, sounding like a mix between Joni Mitchell and Dusty Springfield. Not bad really. Give them three years and they will be massive, and as an amazed and impressed Jon Windle added, ‘If these were a couple of years older I’d pass them onto our management.’ Expect big things from four outstanding musicians.
Ben Lewis
Jack Afro / The Voltz / Hurricane Sunday
@ The Faversham, Leeds
Okay, so the Faversham’s certainly been busier, but in no way was that going to dampen my curiosity to see three of Leeds’ so called ‘best kept secrets.’
Hurricane Sunday’s bassist Roon, looking like the result of an on-tour fling between Kyle Glass and Romeo from the Magic Numbers was a giant of bassist, whilst lead vocalist Ben Greaves and Will Godfrey on guitar both gave a sound rock and roll performance. From a band only a year old, I think we can safely expect great things from Hurricane Sunday in the future.
Up next, The Voltz are the latest band in a current trend to appear on BBC’s Look North, and which, whilst perhaps not being the coolest of accreditations, certainly shows that they’re going places. Onstage, The Voltz are cannily reminiscent of 90s Manchester and there’s definitely something of the swagger of an early Oasis or Stone Roses to them. Rousing and anthemic, standout songs included ‘Cry Baby Cry’ and latest single ‘Prophesy’, which ended the set with an epic swirling guitar solo. Having a frontman who resembles Jack Bauer only added to The Voltz’s ever increasing aura of cool.
Jack Afro had a tough act to follow, and since this was my first J’fro gig since the departure of guitarist and joint vocalist Mickey Kerr in September, I was curious to see the current state of the band. They didn’t disappoint.
By the arrival of ‘Just Leave’, a hit at last year’s ITC festival, I was sold all over again to J’fro’s danceable, 60’s inspired sound and I clearly wasn’t alone; mingled as the crowd was with interlopers from next door’s function, lured from their toilet run on the hook of a riff. Upbeat and easily likeable pop that whilst isn’t essentially groundbreaking, looked and sounded great.
Bradley Tubb
Jack Rose / Liz Green
@ Jabez Clegg
The typically Manchester redbrick venue Jabez Clegg may not seem the most obvious
place to look for country music. But local girl Liz Green, warming up for the visiting Americana guitarist Jack Rose, had all the quavering vocal quality of a female M Ward, despite a Francophile wish expressed in the longing of wanting to be a ‘French Singer’.
Almost every town or city high street has one to add to the urban wallpaper - your average one-man band, either nuisance or well-meaning eccentric, bringing to mind images of a novel entertainer, simultaneously strumming a battered guitar, foot thumping on the pavement, harmonica a-whining and sundry other body parts bashing out noise on an unlikely looking contraption of scrap instruments. Hailing all the way from Pennsylvania, however, Jack Rose is a different class of one-man music machine entirely, a complete sound collage of blues finger picking born solely out of a guitar or two and the whole range of fingers and thumbs (save for the occasional experimental excursion into Indian raga), whether pulling and twisting melody out of the top strings over a thumbed, sinister undercurrent of walking bass, or scraping out new sounds altogether.
Following in the more outré footsteps of American folk weirdness à la avant-garde acoustic instrumentalist and wandering minstrel John Fahey, Rose led those seated in the chapel on a stroll through the symmetrical splendour of stately London town. Both starting and ending with his finest three and a half minutes, ‘Kensington Blues’ reappraised bottleneck style at the close of a second half lap-based slide guitar set. Far from the musical home of the genre, Rose retained all the dusty, wooden porch based languor of the Southern shack whilst managing to reconcile syncopated rhythms perfectly to the affluent Victorian architecture of the London borough.
Natalie Bradbury
James Yorkston
@ The Social
‘Last time I played here there was [sic] more people… I’ve must’ve been shit,’ remarks Scottish folk singer James Yorkston. It seems unlikely that he was shit and indeed he doesn’t seem to mind about tonight’s low numbers. The forty-odd that are present are an attentive bunch. In true folk fashion most are seated and drinking bitter.
He is without his backing band the Athletes, but his recorded work is at its best when his close, breathy voice his framed solely by his nimble finger-picking. His Scotch heritage and the folk tradition in general are echoed in the long drones that underpin most songs. The guitar playing often buzzes with as many lines as a full band could inject and, with the addition of a wheezing, mournful harmonica, nothing is missed.
Yorkston is a master of his own dynamics and the songs swell and contract as if they’re breathing. Whilst ‘Steady as She Goes’ fizzes with as much teeth-gritted resentment as any punk song, a Shirley Collins cover that laments loves lost to ‘cruel wars’ lends an atmosphere so touching and fragile that I’m afraid to turn the pages of my notebook.
The world-weariness in Yorkston’s voice is reflected as, head in hands and with a slight grin on his lips, he recounts stories of interminable meetings with his label about mobile video downloads. Commercialism clearly doesn’t become him and he knows it.
It is a long show for one man to sustain and the slower moments do drag a little. But support artist Nancy Elizabeth Cunliffe is on hand to contribute her harp to ‘I Awoke’. Then follow some fantastically endearing amateurish moments in which she and Yorkston assemble a song on the trot. ‘We’ve never played that before’, Yorkston confesses.
Intimate doesn’t really cover it.
Jeremy Pritchard
Joe Jackson
@ Plug, Sheffield
After three decades in the music business Joe Jackson returns to Sheffield during his low key tour of the UK and Europe. Jackson on this tour has chosen to go back to basic roots, as a trio with long standing original members Graham Maby on bass and Dave Houghton on drums and Joe Jackson solely on piano and vocals.
There is a capacity gathering in the Plug tonight and what strikes you first is Jackson’s grand piano taking up nearly three quarters of the stage, leaving little room for the remaining two members. The band open with ‘Stepping out’ a number 6 UK Single hit in 1982, then launch into more classic Jackson material, new and old, ‘Different for Girls’ and ‘Is She Really Going out with him’ being the highlights of tonight’s set. Jackson introduces a handful of new songs that fit in comfortably with past offerings, testers for the new album to be recorded following this tour.
It’s difficult to pigeonhole an artist like Joe Jackson who has the ability to combine many genre’s of music into his own unique writing, which never seems to date. Tonight also sees Joe Jackson doing re workings of old songs with new chord structures and altered melodies. The band was faultless to the end with a rhythm section second to none. A thoroughly enjoyable evening was delivered by a man who has become a legend in his own right, welcome back Joe.
Greg Weller
Kell’s Heroes / The Old Whores of San Pedro / Rocky Nest / Big Monster Love / The Glockenspiel Alliance
Moral Panic @ Abbeydale Picturehouse, Hull
Two girls dressed in black and tipped off with top hats begin our artistic voyage as they take a harp to the stage. One plucks away at beauty's chords whilst the other howls children's stories. These two named Georgie and Rebbecca tell us to fear the Jabberwocky but we should embrace Big Monster Love as he quite simply fills ye heart with both sad lament and glee - the easing songs of the lost and not quite damned slip from his instruments. Whilst BML shines Dolcestilnovo try in vain to raise the stakes, yet are unfortunately prone to flatness.
Poetry when spoken is all about the voice expressing syllables with verve and intrigue; Sean Cartwright has thee orating gift. The Glockenspiel Alliance simultaneous wow and confuse as they launch into the theme tune for that eighties’ cartoon Ulysses 31. Later their set becomes more complex and it seems a false sense was teased by the theme tune as The Glockenspiel Alliance are a band to be reckoned with. The Rocky Nest dust off their cellos, handclaps, and dancing shoes before singing to us songs of innocence and songs of experience. Sometimes when you take a wild animal from its home then their glories inevitably fade but this band grows and glows in unfamiliar surroundings.
The twists of the day take another turn, whilst previous acts had cute touches, and off-beat benevolence we suddenly hit a more conventional corner. Kelly's Heroes just fail to take us by the scruff while The Old Whores of San Pedro fail to live up to their rather ace name. It doesn’t stop the crowd partaking in a rhubarb dance as innocent fun is embraced.
Occasional confusion took us from the middles of the roads to the edges but it is a journey we sought and it is journey we got; this Moral Panic is building something ram shackled but glorious to behold.
Mike Reynolds
The Law / The Bonnitts
Club NME @ Welly Club, Hull
To say the Bonnitts, Hull’s brightest indie prospects, outshone their supporting act status and upstaged the much tipped-to-be-big headliners the Law, is an understatement at its most ear pleasing reality. Cheap Vodka swallowing gig goers, at the unusually-quiet-for-this-Thursday’s club NME, seemed to be at the club tonight only to support Hull’s up-and-coming talent, and the band, obviously aiming to maintain their local support base, did not disappoint. Blistering through an eclectic set of songs encompassing bouncy art rock rhythms and soulful, vocal led emotional treats reminiscent of Radiohead and Snow Patrol, the Bonnitts raised the bar tonight. Although some more volume on the vocals would have helped, infectious bass lines and edgy guitars from a band tight and together – ensuring smiles all around and based on myself, at least one new fan.
The Law wandered on to a pretty much empty room, although in their defence after many had wandered down to the other bars in the venue or were strutting their stuff on the dance floor. However, they did little to attract people back to dance for them as the Bonnitts managed half an hour earlier. A fun and dancy sound, yet a little too like Fratellis for my liking and from their reception in the Welly, they may have found a better audience in a boozed up Magaluf bar or at Wetherspoons on a Saturday night.
Punchy punk and mod sensibilities give the band some promise for the future, although unless they are tagging aboard The Enemy’s out-of-control bandwagon they had better search for a tad more originality.
Mike Pye
LCM Symphony Orchestra
@ The Venue, LCM, Leeds
The orchestra were an eclectic mix of old and young with the appropriate combination of fire, energy and wisdom that brings. They worked as a true collective also, confidently supporting and moving against one another. They opened with an overture by Walton, a positive, uplifting, chaotic cavalcade of phrases and themes that instils in the listener the same raucous delirium the composer must himself have felt. The performers contrived to create something transitionary but rooted simultaneously.
Lynne Dawson (soprano) joined them for the Strauss - four last songs written before the composer died. Her voice was intensely powerful and with incredible range, at times she seemed to be supporting the sound of the orchestra rather than them supporting to her. She acted as the calm in the storm, the violins and brass swelling and swirling around her whilst she located the emotion. The piece in itself had the lyrical astringent emotion you’d expect but was slightly melodramatic in places; it had a kind of satisfied attitude and epic nature of having overcome everything, which I suppose is synonymous with the summing up of achievement.
The afternoon was rounded up by something substantial by Brahms, the first symphony. Massive tempo changes pulled, pushed and stopped you dead before quietly resuming. At times there were elements of Slavonic dance followed by slow and moving sections, other areas were brassy and regal. Often phrases build on one another in intensity, feel like they’ve led you to a culmination, but actually just steal along again in another direction, never satisfied, trying to find variations in itself. The play off between the clarinets and oboes was particularly moving and the musicians made me realise this piece is about subtlety, the movement between these phrases, the repeated themes reassuring in the sea of sound.
Sophie Kemp
Lonely, Dear
@ Rescue Rooms, Nottingham
Stunning is not an appropriate word to describe Emil Svanängen’s, aka Loney, Dear, voice tonight. While it is powerful and memorable it has a unique soft quality which allows him to subtly take over the room and slowly enchant the listeners. Emil manages to keep his voice under perfect control throughout the generous set, even at its highest he never slips, staying perfectly pitched and in tune. During the set he often immaculately harmonizes with at least one of the four members of his band which provides a beautifully haunting atmosphere in the room. ‘I am John’, arguably the highlight of the show, is met not with immediate applause but with a few seconds of silence acknowledging a rare moment when music engulfs you so much that your spine tingles and a tear appears in the corner of your eye. When applause finally does erupt from the onlookers it is delivered with pure enthusiasm and the musicians on stage appear truly endeared. This intimate bond between artist and audience continues for the rest of the evening.
A nod must be given to Emil’s band, the sound they create is as flawless as this club venue allows. They also all work extremely well together, playing far more as a unit than individuals which creates a lavish and, at some points, energetic sound. The songs mainly come from this year’s enormously well received Loney, Noir which combines folk style guitar and drums with delicate electronic tones to create an individual and uplifting sound. What really makes the show tonight is its intimacy. Emil talks to his fans like dear friends and with such a small audience everyone has a perfect view of the stage, without the sweaty, chaotic crowds, making it a calm, relaxing and thoroughly enjoyable experience.
Lauren Evett
The Maccabees / Jack Pe_ate
@ Stylus, Leeds University
The youthful audience is getting a good deal at Stylus tonight; jocular songsmith Jack Pe_ate is an excellent warm-up for the headline band. Wearing a natty, trucker-esque ensemble, he holds the stage more than one man in a red baseball cap and checked shirt has a right to. His catchy, radio-friendly songs get the Saturday night crowd in party mood, although, as ever with Stylus, there’s a frustrating reluctance to get their groove on.
However, it’s The Maccabees that everyone’s come to see. The predominance of teenage girls illustrates their appeal – they’re a ‘proper’ band alright, but their musical accessibility, youthful spirit and – dare I say it – the fact that a couple of them wouldn’t look out of place presenting children’s TV gives them that all-important foothold with the youngsters.
Easy-on-the-eye guitarist Felix White bounds about the stage, clearly delighted to be there, grinning and interacting with the front rows, while singer Orlando (mmm, not really very ‘street’ are they? The others are Hugo, Rupert and Robert) engages in complimentary banter about the crowd at their recent Cockpit gig. Although, talking to Pe_ate and The Maccabees later, they express themselves somewhat bemused by the now ubiquitous partisan chant of ‘Yorkshire!Yorkshire!’, they agree that the Leeds crowd is unique in its ability and willingness to ‘ave it.
All the hits come out; first song is the chirpy ‘First Love’, while last single ‘About Your Dress’ and current contender in the hit parade (or whatever it is they’re calling it these days) ‘Precious Time’ provoke euphoria in the tightly ranked crowd. Rather overzealous security (about whom the band are commendably diplomatic) ruin the fledgling crowd-surfing efforts of many tentative nippers, but nevertheless it’s all a gig should be – nervy excitement, pissed-up kids who think the band are demigods, and an atmosphere of cheerful bonhomie.
Jenny Mark-Bell
Manic Street Preachers / Johnny Boy
@ The Octagon, Sheffield
Three hours before Wales’ finest export since smokeless coal take to the stage I’m drinking pre-gig pints and witnessing something which speaks volumes about what MSP mean to their hordes of fans. Three grown men in their early thirties picking apart the pros and cons of the band’s back catalogue and predicting the set which they’ve been tracking on fan forums for days now.
Johnny Boy, then, are facing a crowd with a one track mind and have much to prove. Shame then that they look and sound like musicians who failed the auditions to get into the E-Street Band. This is sub Springsteen shtick with a sweeping guitar sound reminiscent of U2 which rattles around the venue drowning out almost everything else. Everything about this band is derivative even their stand out track is a cover of Sheena is a Punk Rocker.
The adoration in the room is palpable when MSP appear, even I’ve gone a bit ‘giggly school-girl’, and it’s obvious that, whereas Johnny Boy had a mountain to climb, MSP would have to work hard to upset this crowd. They appear masterful, their wealth of experience shows and they move the emotions of the crowd at will with classic tracks like Motor Cycle Emptiness and A Design For Life. The fan forums would’ve struggled to predict the eclectic set which is, thankfully, drawn from their entire body of work. Still, the mix of old and new, however well received, illustrates a weakness in their later material. The Springsteen of the valleys faire on offer on their last few albums sound two dimensional and painfully bland next to the vital bile and desperation of earlier tracks such as Sleepflower and Little Baby Nothing.
An excellent show then but one which makes you wish you’d seen them fifteen years ago before the glitter and make-up rubbed off.
Ed Devlin
Marilion
@ Leeds Met
Sunday the 3rd of June saw the return of Progressive Rock outfit Marillion to the city of Leeds to start the UK dates after having just returned from the mainland Europe stint of the tour. This tour is to promote a new album from the five piece band, titled Somewhere Else. This is now the band’s 14th studio album to date and yet again the album is receiving good reviews from the critics, so it should come as no surprise that the gig was sold out sometime before the date which is also testament to the group’s popularity amongst their demographic.
The set commenced with the track ‘Splintering Heart’ which really summed up how the gig would unfold, blending new tracks from their new album whilst also collecting songs from their extensive back catalogue and throwing them into the set. This really was ‘business as usual’ for Marillion, playing with a tightness that comes from spending a vast amount of time recording and touring. Complex textures that come from their albums were well recreated in a live situation and never more noticeable than when the group launched into ‘King’ – combining moments of touching melody to an all out crescendo obliteration to finish. My highlight of the night was a fantastic rendition of the last track from the new album ‘Faith’; a well structured acoustic accompaniment and tender falsetto vocals really stood out and believe me if a pin dropped, you would have heard it as the crowd stood deftly silent and attentive. Songs like this really laid bare Steve Howgarth’s vocal talents which were flawless. There are bands out there who really ‘Kick ass’ and others that are the pure definition of emotion. Place any misconceptions you may have about the band Marillion aside for they are both.
Jon Archer
