Simon Love and the Old Romantics launched their album at The Lexington on Friday night, it was a treat.
Buzzard Buzzard Buzzard kicked off the night with some mincing shouty classic rock.
Apparently John Lennon is their Jesus Christ.
The School followed with some unashamedly indie numbers.
Leading nicely to Simon Love and the Old Romantics with a collection of their well known hits to finish the night.
Showing posts with label gigs. Show all posts
Showing posts with label gigs. Show all posts
Monday, 2 July 2018
Wednesday, 6 September 2017
Sinking ship
The Good Ship looks to be the latest casualty in gig venue closures.
As Brexit sweeps a wave of nationalist yes we can through half of Britain, the agenda seems to be more about having a public political fight with the continent than examining anything as interesting as reviving the live British music scene.
Small venues have been being closed and co-opted for over 10 years now.
There was a time when the Brixton Academy had no sponsorship in its name.
In an international context of war, flooding and economic hardship talking about a venue closure seems inconsequential.
However, the smaller venues have historically provided a musical voice for many economic losers and an alternative agenda.
Much as food is important if you turn every old venue into a Tesco not many local communities are going to be able to come together to celebrate and commiserate.
Believe me meeting someone to change the world with is not easy in a supermarket, I won't get into laundrettes.
The music scene brought us acts who thrust AIDS, poverty and war into the mainstream pop discourse.
While the old adage of the guitar killing the enemy may be a bit tired, you have to remember Tchaikovsky.
Please go out, before all that's left is your TV.
Or you could Instagram your sandwich again, I guess it's your choice.
As Brexit sweeps a wave of nationalist yes we can through half of Britain, the agenda seems to be more about having a public political fight with the continent than examining anything as interesting as reviving the live British music scene.
Small venues have been being closed and co-opted for over 10 years now.
There was a time when the Brixton Academy had no sponsorship in its name.
In an international context of war, flooding and economic hardship talking about a venue closure seems inconsequential.
However, the smaller venues have historically provided a musical voice for many economic losers and an alternative agenda.
Wigan is not heaven, all credit to The Verve
Much as food is important if you turn every old venue into a Tesco not many local communities are going to be able to come together to celebrate and commiserate.
Believe me meeting someone to change the world with is not easy in a supermarket, I won't get into laundrettes.
The music scene brought us acts who thrust AIDS, poverty and war into the mainstream pop discourse.
While the old adage of the guitar killing the enemy may be a bit tired, you have to remember Tchaikovsky.
Please go out, before all that's left is your TV.
Or you could Instagram your sandwich again, I guess it's your choice.
Monday, 23 September 2013
One trick musician..?
American clarinetist and music composer, Shankar Tucker, rose to fame
with the popularity of his online music video series called 'Shruti Box' amassing some 12 million views and 100,000 fans.
Indeed the beginning of his performance at the Hayward Gallery on Saturday was quite unique.
I would never of thought of coupling a clarinet with something like a tabla.
One idea
However, though very promising Tucker's themes failed to progress.
It was admittedly very musically adept, but lacked any real range of musical ideas.
Tucker is still young so he may be one to watch for interesting future collaborations.
Indeed the beginning of his performance at the Hayward Gallery on Saturday was quite unique.
I would never of thought of coupling a clarinet with something like a tabla.
One idea
However, though very promising Tucker's themes failed to progress.
It was admittedly very musically adept, but lacked any real range of musical ideas.
Tucker is still young so he may be one to watch for interesting future collaborations.
Sunday, 25 August 2013
Time for a Sulk
The Savage Nomads were supporting Sulk at a gig at The Garage.
It was nice to see them playing so tightly together.
Cole's stage presence has improved immeasurably and his singing also seems to have got better.
Low points
The friend I was with commented that the band should work on their image, personally it doesn't bother me, but it seemed to concern her.
And I was frustrated by the sound quality of the venue.
Brand new
They have a new song: 40 degree day.
The pulsing rhythm works well under a contrasting high pitch vocal.
A new favourite I think.
Sloppy seconds?
They were followed by the headliner, whose opening bars instantly left me bored and uninspired.
I was anticipating a bit of a painful experience as they waded through trying to be Suede, The Stone Roses and The Charatans when the originals were clearly so much better.
Turn around
It got better, but it wasn't until Sidewinder that they really came into their own and presented some original and surprisingly very good songs.
I think the The Savage Nomads win for being the least derivative, but Sulk could come into their own a bit more when they stop aping their idols.
It was nice to see them playing so tightly together.
Cole's stage presence has improved immeasurably and his singing also seems to have got better.
Low points
The friend I was with commented that the band should work on their image, personally it doesn't bother me, but it seemed to concern her.
And I was frustrated by the sound quality of the venue.
Brand new
They have a new song: 40 degree day.
The pulsing rhythm works well under a contrasting high pitch vocal.
A new favourite I think.
Sloppy seconds?
They were followed by the headliner, whose opening bars instantly left me bored and uninspired.
I was anticipating a bit of a painful experience as they waded through trying to be Suede, The Stone Roses and The Charatans when the originals were clearly so much better.
Turn around
It got better, but it wasn't until Sidewinder that they really came into their own and presented some original and surprisingly very good songs.
I think the The Savage Nomads win for being the least derivative, but Sulk could come into their own a bit more when they stop aping their idols.
Friday, 3 August 2012
Snuffing out the competition
I was unexpectedly invited out to watch a punk band in Camden.
All there really is to say is: they were blinding.
However, I will elaborate.
Going in blind
Due to the unexpected nature of this journey I will have to admit I had no idea what I was about to see.
Turns out it was to see a band called Snuff.
It seems they have been going for something like forever.
And with good reason.
They are tight, inventive, fun and just down right impressive.
Good feeling
All this time listening to slightly pained wank on the radio and I could have been seeking solice in bands like this, oh well.
It brightened up my day, week, month, possibly even year.
And Snuffites, if you think that's being full of shit: fuck you.
All there really is to say is: they were blinding.
However, I will elaborate.
Going in blind
Due to the unexpected nature of this journey I will have to admit I had no idea what I was about to see.
Turns out it was to see a band called Snuff.
It seems they have been going for something like forever.
And with good reason.
They are tight, inventive, fun and just down right impressive.
Good feeling
All this time listening to slightly pained wank on the radio and I could have been seeking solice in bands like this, oh well.
It brightened up my day, week, month, possibly even year.
And Snuffites, if you think that's being full of shit: fuck you.
Friday, 24 February 2012
Blinded by Brother and Bones
I found myself at The Borderline to watch a rather longer and more sultry set by MOYA.
Her accompanist on this occasion was Tom Figgins and he did a lovely job.
However tonight's main event were something of note.
Brother and Bones was introduced to me as a cross between Mumford and Sons and Kings of Leon.
I disagree, they put me in mind more of more classic 1960s folk rocked up in a sensory explosion.
These guys are tight as, it's scary to think how much they've been practising.
More than just a pretty face
Do not be fooled by the Aragon look alike front man, this isn't just a group of pretty boys.
Some tracks can err on the more generic folk rock end, but as a whole it was a blinding set, I haven't stamped my foot so hard in a long time.
To older listeners they may prove on the derivative side, but they certainly know how to rock a joint, the atmosphere for both acts buzzed like a randy bee.
Her accompanist on this occasion was Tom Figgins and he did a lovely job.
However tonight's main event were something of note.
Brother and Bones was introduced to me as a cross between Mumford and Sons and Kings of Leon.
I disagree, they put me in mind more of more classic 1960s folk rocked up in a sensory explosion.
These guys are tight as, it's scary to think how much they've been practising.
More than just a pretty face
Do not be fooled by the Aragon look alike front man, this isn't just a group of pretty boys.
Some tracks can err on the more generic folk rock end, but as a whole it was a blinding set, I haven't stamped my foot so hard in a long time.
To older listeners they may prove on the derivative side, but they certainly know how to rock a joint, the atmosphere for both acts buzzed like a randy bee.
Thursday, 23 February 2012
Ok nerd, speak
I went to the festivalof the spoken nerd the other night.
I was told it would be geek comedy, I wasn't really sure what to expect.
The spoken nerd wasn't really comedy in the traditional sense, it was more an excited collection of cool old toys and pretty funny indie style songs.
I did laugh, I did enjoy myself, but it put me more in mind of fringe theatre than Live at the Apollo.
We were invited into a world of silly cuteness, that reminded me mostly of what it was like to be seven in a good science lesson.
Star Turn
I was invited onto the stage twice thanks mainly to the place that I was sitting.
It was not too embarassing and quite fun, but I did feel thoroughly stupid.
I don't know, all these clever people.
Tiffany
The normal style comedian called Tiffany that they had on was less of a highlight, she warmed up but you could feel her nerves and she often misjudged her audience.
But I would definitely go again it was a great giggle and left me returning home with an spring in my wintery step.
Nerd on, spoken nerd, nerd on.
I was told it would be geek comedy, I wasn't really sure what to expect.
The spoken nerd wasn't really comedy in the traditional sense, it was more an excited collection of cool old toys and pretty funny indie style songs.
I did laugh, I did enjoy myself, but it put me more in mind of fringe theatre than Live at the Apollo.
We were invited into a world of silly cuteness, that reminded me mostly of what it was like to be seven in a good science lesson.
Star Turn
I was invited onto the stage twice thanks mainly to the place that I was sitting.
It was not too embarassing and quite fun, but I did feel thoroughly stupid.
I don't know, all these clever people.
Tiffany
The normal style comedian called Tiffany that they had on was less of a highlight, she warmed up but you could feel her nerves and she often misjudged her audience.
But I would definitely go again it was a great giggle and left me returning home with an spring in my wintery step.
Nerd on, spoken nerd, nerd on.
Wednesday, 15 February 2012
A modern angel
I find myself at The Bedford, a beautiful local pub with an amazing Sunday roast, but I digress.
I'm here to see MOYA, a new up and coming artists with eclectic class: all fedora, long skirts and crocheted tops, and I hate doing clothes descriptions.
MOYA's set is paired down and acoustic with only one accompanist playing keyboard and guitar.
Her set starts with Heroine, truly a song to break the heart, delivered in a fragile yet soulful voice that almost whispers at points, while still packing a soul styled punch.
The set casts a spell, at times more jazzy, but always captivating.
All comes to a close with the song Walk Away and I find that's the last thing that I want to do.
It is only left to raise a glass to MOYA and her warm ringing tones.
I'm here to see MOYA, a new up and coming artists with eclectic class: all fedora, long skirts and crocheted tops, and I hate doing clothes descriptions.
MOYA's set is paired down and acoustic with only one accompanist playing keyboard and guitar.
Her set starts with Heroine, truly a song to break the heart, delivered in a fragile yet soulful voice that almost whispers at points, while still packing a soul styled punch.
The set casts a spell, at times more jazzy, but always captivating.
All comes to a close with the song Walk Away and I find that's the last thing that I want to do.
It is only left to raise a glass to MOYA and her warm ringing tones.
Wednesday, 2 February 2011
Whipping up a storm
Gig time again.
I spirited myself (via tube) to The Old Queen's Head in Islington to see Sound of Rum perform in celebration of their single release of Slow Slow.
Kwaking in anticipation
I'll get to the rum lot in a minute, but first I need to dedicate a bit of word space to Kwake who Kate introduced with such great respect.
Kwake normally plays with The Speakers Corner Quartet, who I stumbled across playing for free at Tate Britain sometime last year and was truly impressed.
His solo performance was in the same spirit as the work of the quartet: trippy, haunting and inventive.
Kwake being a drummer was perhaps more beat driven, but I was still transported back to the feeling of calm and inspiration that hit me on stumbling upon him playing in Tate Britain.
A bit of poetry
Kate Tempest (Sound of Rum lead vocalist) gave an equally warm reception to Chester P, with the words: "If you don't know who this man is I don't know what to say to you."
I guess we won't be having many conversations from now on then...
The man certainly had swagger and the kind of biting anger that is good to see in a poet, but he needs to build the kind of command that means his words leave people awe struck.
Rum time
After greeting each performance with a gusto and love that is hard to match Kate Tempest was left to introduce...
Herself and the rest of Sound of Rum.
It's a good job she's such a funny compere.
I have reviewed Sound of Rum before and a lot of the comments still apply.
The music is masterfully, yet talentedly understated.
The lyrics are passionate, um, lyrical and relevant.
And Kate sweeps you into a journey of enthusiasm and anger that leaves you buzzing and hopeful.
Modern day orator
It is a delight to hear such heartfelt and original lyrics, but I was really very near to tears of joy and laughter when Kate launched into the story of Prometheus.
If Homer and his like had been alive now, they would have told it like that.
Hats off to you girl.
And great respect to Ferry and Archie for weaving their instrumental magic to finish it all off.
Go and buy the single, go on...
I spirited myself (via tube) to The Old Queen's Head in Islington to see Sound of Rum perform in celebration of their single release of Slow Slow.
Kwaking in anticipation
I'll get to the rum lot in a minute, but first I need to dedicate a bit of word space to Kwake who Kate introduced with such great respect.
Kwake normally plays with The Speakers Corner Quartet, who I stumbled across playing for free at Tate Britain sometime last year and was truly impressed.
His solo performance was in the same spirit as the work of the quartet: trippy, haunting and inventive.
Kwake being a drummer was perhaps more beat driven, but I was still transported back to the feeling of calm and inspiration that hit me on stumbling upon him playing in Tate Britain.
A bit of poetry
Kate Tempest (Sound of Rum lead vocalist) gave an equally warm reception to Chester P, with the words: "If you don't know who this man is I don't know what to say to you."
I guess we won't be having many conversations from now on then...
The man certainly had swagger and the kind of biting anger that is good to see in a poet, but he needs to build the kind of command that means his words leave people awe struck.
Rum time
After greeting each performance with a gusto and love that is hard to match Kate Tempest was left to introduce...
Herself and the rest of Sound of Rum.
It's a good job she's such a funny compere.
I have reviewed Sound of Rum before and a lot of the comments still apply.
The music is masterfully, yet talentedly understated.
The lyrics are passionate, um, lyrical and relevant.
And Kate sweeps you into a journey of enthusiasm and anger that leaves you buzzing and hopeful.
Modern day orator
It is a delight to hear such heartfelt and original lyrics, but I was really very near to tears of joy and laughter when Kate launched into the story of Prometheus.
If Homer and his like had been alive now, they would have told it like that.
Hats off to you girl.
And great respect to Ferry and Archie for weaving their instrumental magic to finish it all off.
Go and buy the single, go on...
Friday, 14 January 2011
My three song review
I went to another Chekhov's Rifle gig last night; I did say I'd seen them a lot, sue me I enjoy it.
Anyway this isn't about them.
This is my three song review of the Brown Brogues, the last act on the bill.
I would have loved to stay for more than three songs, but I had to leave.
The three song review
I was uninspired by seeing two young guys, one with guitar, one with drums.
My first thought, so they think they're The White Stripes...
My second thought, what is that awful noise the guitarist is making soundchecking the mic, oh please, my head, my head.
My third, oh he's actually making warped but recognisable noises now, that's quite fun.
The gig proper
To me they sounded a bit like The White Stripes mixed with The Hives.
It was very infectious and promised some variation as the third song managed to sound slightly psychadelic despite the paired down instrumentation.
I had fun, I didn't want to leave.
For the music geeks
The distorted mic two piece has apparently been done before by Lightning Bolt.
However, I think these two weren't carbon copies.
Influenced quite strongly perhaps, but not complete rip off merchants.
All in all a good night at The Silver Bullet, next time I'm staying longer.
Anyway this isn't about them.
This is my three song review of the Brown Brogues, the last act on the bill.
I would have loved to stay for more than three songs, but I had to leave.
The three song review
I was uninspired by seeing two young guys, one with guitar, one with drums.
My first thought, so they think they're The White Stripes...
My second thought, what is that awful noise the guitarist is making soundchecking the mic, oh please, my head, my head.
My third, oh he's actually making warped but recognisable noises now, that's quite fun.
The gig proper
To me they sounded a bit like The White Stripes mixed with The Hives.
It was very infectious and promised some variation as the third song managed to sound slightly psychadelic despite the paired down instrumentation.
I had fun, I didn't want to leave.
For the music geeks
The distorted mic two piece has apparently been done before by Lightning Bolt.
However, I think these two weren't carbon copies.
Influenced quite strongly perhaps, but not complete rip off merchants.
All in all a good night at The Silver Bullet, next time I'm staying longer.
Monday, 20 December 2010
All Nomadic again
It's always nice to see Christmas in with some music and after getting such a buzz from the Savage Nomads performance in November seeing their last night at the 12 Bar was awaited with eager anticipation.
They didn't dissappoint.
The sound was perhaps a little less polished than at The Hope and Anchor, but the skills of the sound guy were more than made up for by the buzz of the night.
A much more festive atmosphere and a little more anarchy made for a really fun night.
Although, having seen the Nomads twice now, soon I'm going to be clamouring for new material.
The old material is great, but there are only so many times you can listen to the same set list at a live performance; get writing guys.
They didn't dissappoint.
The sound was perhaps a little less polished than at The Hope and Anchor, but the skills of the sound guy were more than made up for by the buzz of the night.
A much more festive atmosphere and a little more anarchy made for a really fun night.
Although, having seen the Nomads twice now, soon I'm going to be clamouring for new material.
The old material is great, but there are only so many times you can listen to the same set list at a live performance; get writing guys.
Wednesday, 8 December 2010
Patrick Wooooooooolf: electro folk pioneer
Ok, I realise that some people - particularly folk stalwarts - would say that Bob Dylan was an electro folk pioneer; but trust me 'folks', ha ha, he's a completely different breed.
I have been following Patrick Wolf for a long time now and in some respects this is the best gig I've seen him perform.
He bounds onto the stage in a red boiler suit complete with black belt and red suit jacket with a fantastically angular red flower to complement the black ones covering the keyboard; only Patrrick Wolf can pull this shit off without me wanting to punch him.
The set gets onto a cracking start with Bluebells, one of my favourite tracks off The Magic Position.
The current sound
Since I saw him last he's become far more orchestral in his live performance.
Although I sort of miss the days of him standing pretty much alone on stage fighting to create his beautifully emersive tracks with technical wizardry and sheer passion, he has lost none of his passion and now brings the instrumentation to pack the kind of punch his songs demand.
He winds us through new and old songs seemlessly, telling tales and giving thanks in his classic delicate yet assured style.
Following The Libertine:
New Material
We are introduced to what he calls his Libertine for today, This City.
It proves a beautiful piece with all of the passion, pace and poignancy of his best work.
A sustained and enthusiastic applause brings him back for an encore and he finishes up with The Magic Position, the song that ensured I parted with the cash to buy that particular album.
One last question
So after the ICA gig supporting Franz Ferdinand, the clustered audience at the Barfly, Valentine's night at The Borderline and the magesty of Union Chapel; what's The Magic Position, eh, Patrick?
I have been following Patrick Wolf for a long time now and in some respects this is the best gig I've seen him perform.
He bounds onto the stage in a red boiler suit complete with black belt and red suit jacket with a fantastically angular red flower to complement the black ones covering the keyboard; only Patrrick Wolf can pull this shit off without me wanting to punch him.
The set gets onto a cracking start with Bluebells, one of my favourite tracks off The Magic Position.
The current sound
Since I saw him last he's become far more orchestral in his live performance.
Although I sort of miss the days of him standing pretty much alone on stage fighting to create his beautifully emersive tracks with technical wizardry and sheer passion, he has lost none of his passion and now brings the instrumentation to pack the kind of punch his songs demand.
He winds us through new and old songs seemlessly, telling tales and giving thanks in his classic delicate yet assured style.
Following The Libertine:
New Material
We are introduced to what he calls his Libertine for today, This City.
It proves a beautiful piece with all of the passion, pace and poignancy of his best work.
A sustained and enthusiastic applause brings him back for an encore and he finishes up with The Magic Position, the song that ensured I parted with the cash to buy that particular album.
One last question
So after the ICA gig supporting Franz Ferdinand, the clustered audience at the Barfly, Valentine's night at The Borderline and the magesty of Union Chapel; what's The Magic Position, eh, Patrick?
Saturday, 6 November 2010
The Savage Nomads - the alternative bonfire
I ventured out last night to see The Savage Nomads, with absolutely no expectations (despite being told "I think you'll like them.")
I was suitably impressed.
They even made me forget that I probably won't be seeing any fireworks displays this year.
In amongst all the third rate indie/rock bands that seem to be acosting my ears at the moment this bunch of spritely lads are a breath of fresh air.
It's not often that I see a band and spend the following day searching youtube clips to share with my friends, and then feel that those clips don't do the band justice.
These guys are a live band through and through with an easy confidence that makes their stage performance all the more compelling.
The singers style is reminiscent of Incubus, with a more British twang.
(Though I wonder whether he might be a little too young for Brandon Boyd to have been much of an influence, and possibly a mite too cool).
They're definitely not carbon copies of anyone, but not quite mind blowing perfection either.
But there's an infectious promise there - I might just place a bet that in a couple of years time they'll be playing far bigger venues than The Hope and Anchor.
I was suitably impressed.
They even made me forget that I probably won't be seeing any fireworks displays this year.
In amongst all the third rate indie/rock bands that seem to be acosting my ears at the moment this bunch of spritely lads are a breath of fresh air.
It's not often that I see a band and spend the following day searching youtube clips to share with my friends, and then feel that those clips don't do the band justice.
These guys are a live band through and through with an easy confidence that makes their stage performance all the more compelling.
The singers style is reminiscent of Incubus, with a more British twang.
(Though I wonder whether he might be a little too young for Brandon Boyd to have been much of an influence, and possibly a mite too cool).
They're definitely not carbon copies of anyone, but not quite mind blowing perfection either.
But there's an infectious promise there - I might just place a bet that in a couple of years time they'll be playing far bigger venues than The Hope and Anchor.
Sunday, 20 June 2010
Sound of Rum and Kid Carpet
Kate Tempest, Sound of Rum’s lead singer, brought a positive energy to the stage as she hit it meaning her call to draw in the audience was readily obeyed.
Those who regularly attend gigs of fledgling bands and the not-quite-so-famous will be familiar with how often this call is met with icy stares and resolute ‘coolness’.
This isn’t a well researched notational review, this is very much a spin from my opinion.
So I was caught up by a truly poetic lyricist who shouts out her calls of messed friendship and a life manifesto.
Ferry (drums) and Archie (guitar) provided a tight and proficient understated backing, which should be complimented in its ability to stay far enough in the background to let Kate’s lyrics through and yet remain strong enough musically to make this a professional and fresh performance.
There were no egotistical twirls from any quarter; a vibe of assured positivity; and a groundedness that made these kids appear mature beyond their ages.
Kid carpet by contrast brought a much more knowing irony and jaded comedy to the stage.
More hilarity than musical prowess, but great fun for it.
“We built this city…” on slav-er-y, indeed.
Musical stand up with the florish of Bill Bailey and more young brash sarcasm.
Those who regularly attend gigs of fledgling bands and the not-quite-so-famous will be familiar with how often this call is met with icy stares and resolute ‘coolness’.
This isn’t a well researched notational review, this is very much a spin from my opinion.
So I was caught up by a truly poetic lyricist who shouts out her calls of messed friendship and a life manifesto.
Ferry (drums) and Archie (guitar) provided a tight and proficient understated backing, which should be complimented in its ability to stay far enough in the background to let Kate’s lyrics through and yet remain strong enough musically to make this a professional and fresh performance.
There were no egotistical twirls from any quarter; a vibe of assured positivity; and a groundedness that made these kids appear mature beyond their ages.
Kid carpet by contrast brought a much more knowing irony and jaded comedy to the stage.
More hilarity than musical prowess, but great fun for it.
“We built this city…” on slav-er-y, indeed.
Musical stand up with the florish of Bill Bailey and more young brash sarcasm.
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