Gaz Brookfield / Apocalyptalooza - Fri Dec 21st, The Fleece, Bristol

Post apocalyptic survival celebrations at the Fleece tonight with a formidable batting line-up of the great and the good of the city’s scene.  6 acts for just under £6 pulls a merry capacity crowd clad in Santa hats and gaudy jumpers having capitalized well on a day of early office finishes.  With the end of the world averted and Christmas upon us, it’s a superb selection box of acoustic, folk/rock played on-show tonight with a mix of signed and unsigned talent available for consumption.

Apologies to the earlier acts that I missed but I arrived halfway through the event to see likeable Bristol based Glaswegian Lonely Tourist, a lively power-folk Idlewild with heartfelt and wry lyrical observations set for a bigger stage.  Next up, NME ‘Band To Watch’ and Cheltenham quartet Jim Lockey and The Solemn Sun deliver a barnstorming folk rock set ahead of next year’s headline tour.  A much heavier performance than I have seen before, they pull off a well-received versatile set that encounters the blue-collar rock/punk, indie and folk/pop of Gaslight Anthem, Biffy Clyro and Newton Faulkner respectively.   

Gaz Brookfield is the headliner though tonight; a charismatic singer/songwriter with roots in Bristol and Swindon known locally for his incredible gig work ethic (over 200 per year) and brutal, often highly comedic storytelling style.  Now on second solo album ‘Tell It To The Beer’ recorded in a homemade studio comprising of a duvet hung from the ceiling in the corner of his bedroom, he has the sing-along folk/acoustic anthems justifiably rewarded by support call-ups for The Levellers, Frank Turner, Pete Doherty and more.

 

Opening with recent re-released single ‘Diet Of Banality’ a triumphant ode to the genuine music artists and attack on faceless manufactured pop that has every punter charging their pint towards the stage; “Lets raise a glass to every real musician, at least they write their own songs.”  Brookfield wittily works the crowd throughout with a full folk band behind him as his Billy Bragg-esque storytelling covers a wide range of topics including, life on the road as an unappreciated support act (‘Limelight’), persistent van breakdowns (‘Hell Or High Water’) and political apathy/fabulously titled; ‘It Doesn’t Matter Who You Vote For, The Bastards Always Win.’  Brookfield has a clean cut, accessible vocal style reminiscent of Squeeze front-man Glenn Tilbrook as well as harbouring an accomplished percussive knuckle-rapping style and occasional penchant for two-handed fret work.

Brookfield has bags of charm as he works through his set with passion and infectious enthusiasm, clearly loved by his home-crowd many of whom would have spotted him fervently cheering on the other acts on tonight’s bill from the bar area.  Returning to the stage for Bristol National Anthem ‘Westcountry’, featuring virtuoso violin from Ben Wain, the song becomes a real event.  As was shown in last year’s corresponding fixture at the Fleece on Brookfield’s fantastic online tour diary (a fascinating insight into the life of an unsigned solo artist), the steaming crowd proudly yell “I’d rather see the west end of the M4 corridor.”  It’s a Christmas cracker of a set from one of the region’s most talented artists understandably humble in appreciation for sharing the bill with some superb and highly promising support acts.

Kindly published by venue:
http://www.venue.co.uk/music-live-reviews-g/19976-gaz-brookfieldapocalyptalooza

Best tracks - Watch through links below:

Gaz Brookfield - Limelight
Jim Lockey & The Solemn Sun - A Song About Death
Lonely Tourist - Rattling Around

Apocalyptalooza:

Gaz Brookfield:



Jim Lockey & The Solemn Sun



Lonely Tourist

The Escapists - Weds 12th Dec, Thekla Top Deck, Bristol

Aliens, Religion and the Afterlife are the main subject topics on the agenda for promising new indie/alt-rock band The Escapists at the Thekla tonight.  Hailing from South London, the Shins and The National inspired quartet have had their most successful year to date bolstered by recent airplay from Radio 1 and XFM.  The buzz around the band has snowballed since this summer’s triumphant Leeds/Reading Festival appearance and with their ambitious, grandiose and anthemic sound a mainstream breakthrough remains a real possibility. 

Tonight’s gig is a sort-of homecoming for two ex-Bristol Uni students within the band as part of their first headlining UK tour to support their impressive new EP ‘Burial’.  Lead singer Simon Glancy is a youthful Guy Garvey with more than a passing vocal resemblance to Marcus Mumford.  Addressing a thin but supportive crowd, his band launch into opening track ‘Screams’ with urgent drum thwacking, fiery guitar sirens and grumbling bass in the vein of The Stills but with a passion greater to that of some of the Montreal bands that the group admire so much.  It’s a ferocious but hugely melodic start worthy of a bigger audience, the sub-zero outside temperatures proving a difficult opponent tonight.  The bleak themes of death and despair are processed into rousing, uplifting sounds on next track ‘This Scene Is Broken,’ an all-out assault of pacy chopped guitar work from the impressive Oli Court and a stadium-bound infectious chorus.

A change of pace for ‘Ghost In Your Bedroom’ which is cinematically atmospheric, Glancy pushing his voice into Chris Martin territory to a sparse backdrop of light guitar chimes.  “Anyone here believe in aliens” is the call before the beginning of catchy ‘Northern Lights’ which harbours the unlikely fist-pumping chorus sing-along of “Aurora Borealis”, worth a listen for those looking for a ballsier Mumford & Sons.  Radio-friendly single ‘Post Gospel Blues’ has a tremendous combo of delicious strumming, barn-storming bass and pounding drums with a falsetto Glancy the picture of total commitment as he sings “When your body dies, your soul survives”.  More death on the agenda for closing track ‘Burial’ which feels like a step-brother to Coldplay’s ‘Yellow’ as shimmering guitars meet military drums and haunting vocals to devastating effect. 

Although lyrically they may be a little gloomy, the monstrous size of the choruses and simplistic but punishing guitars could give Arcade Fire a good run for their money. It’s a tight performance in a short but sweet 7 track set from a fast improving group on an ever-upward trajectory; super-cool, stratospheric indie anthems played with glorious passion. 

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-e/19872-escapists

Best Tracks: Click on link below to watch

The Escapists - 'Burial'
The Escapists - Post Gospel Blues


Setlist:

1. Screams
2. This Scene
3. Ghost In Your Bedroom
4. Witching Hour
5. Northern Lights
6. Post Gospel Blues
7. Burial

Beth Orton - Fri 7th Dec, Thekla, Bristol

Beth Orton has a voice that can make grown men cry.  There’s a fragility and beauty to her sound that can unnerve and soothe in equal measure.  Since the critically adored ‘Trailer Park’ album in 1996, Beth has had a solid run of success with 4 further well-received folk-tronic efforts and she arrives in Bristol following a 6 year break.  In truth it is a little odd seeing the much publicised ‘comedown queen’ kicking off the weekend but even with whipper-snapper Ellie Goulding selling out over the road, Beth’s brand of electronica-alt-folk proves a big draw as she plays a stripped down and intimate acoustic set.

Guitar fully tuned and mug of tea gulped, she opens with comeback single ‘Magpie’.  It’s a visibly nervous start but she soon hits her stride.  The opening bars show a more accomplished guitar style no doubt a result of lessons with Bert Jansch prior to his death last year. There is a defiant optimism lyrically to many of the new tracks especially the opener which belies her shy live persona, ‘I won’t turn back not for anyone, I’ve seen the sign, and I know what is mine’.  Songs of loss and sadness (Beth lost both parents at a young age) are slowly being transcended by hope and resilience, new-found parental bliss and nuptials giving confidence to push the envelope on new multi-collaborative record ‘Sugaring Season’.

 

Husband and talented violinist Sam Amidon joins her on stage for ‘State of Grace’, a hypnotic folk ballad that warms the cockles like a glass of mulled wine before Beth almost apologetically changes the mood with seductive ‘oldie’ ‘Touch Me With Your Love’. New album highlight ‘Something More Beautiful’ is intensely powerful; breathless in parts it schizophrenically switches without warning from calm to feverish passion, both impressive and frightening to the bewildered audience.  ‘Central Reservation’ inspires a whispered sing-along and leaves a golf ball sized lump in the throat.  The rather unpalatable silences that started the gig are now filled with playful banter by the self-effacing singer and the crowd chuckle to tales of Beth’s recent train commutes and ‘arguing with old ladies’.

 

 

Humble and charming for the most part but with a sometimes spiky edge she confidently declares ‘right, lets get the old songs out of the way so we can get down to what we’re all here for’.  A trio of acoustic and violin folk ditties follow and are politely consumed but its not until ‘Concrete Sky’ and ‘Call Me The Breeze’ that the slightly glum mood is lifted.  The former sees some sleek harmonies from Amidon stepping well into the Ryan Adams role and the latter a gentle country-folk foot-tapper that animates the static crowd.

 

Returning to the stage, the gangly singer invites requests and ‘Stolen Car’ bereft of trippy indie layering is a real highlight.  A spine-tingling ‘I Wish I Never Saw The Sunshine’ is followed by final track and rather anti-climactic cover ‘Ooh Child’.  In truth it would have been perhaps better to see Beth with a full band behind her but she has the unassuming charisma and harrowingly angelic voice to pull off what is a committed and top-notch performance.

Kindly published online at Venue.co.uk:
http://www.venue.co.uk/music-live-reviews-b/19867-beth-orton

Best Track: Watch through link below:

Beth Orton - Concrete Sky


Setlist

1. Magpie
2. State Of Grace
3. Touch Me With Your Love
4. She Cries Your Name
5. Central Reservation
6. Something More Beautiful
7. Poison Tree
8. Mystery
9. Safe In Your Arms
10. Shopping Trolley
11. Concrete Sky
12. Call The Breeze
13. Dawn Chorus
14. Candles
15. All The Stars Seem To Weep
16. Stolen Car
17. Wish I Never Saw The Sunshine
18. Ooh Child

Ben Ottewell - Weds 5th Dec, The Fleece, Bristol

When I first heard the baritone raspiness of Ben Ottewell, like many I assumed that such a powerful resonating sound must originate from a chain smoking Tennessee whiskey-guzzling Rancher. Not so, to those of us who know him from Mercury Prize winning British indie/rock band Gomez from their rise to fame with debut ‘Bring It On’ to the present day, Ottewell still looks every bit the pasty postgraduate.

Appearances aside there is no doubting that he has one of the most powerful voices of the last 15 years; his renowned throaty howls have been the focal point throughout the band’s journey from UK to US success with 7 albums, numerous international festivals and featured songs on US film/TV shows.  Having avoided the fast-track to obscurity that has befallen previous Mercury winners, Gomez and Ottewell still maintains a loyal fanbase thanks to a prolific studio and live work ethic and a potent cocktail of blues, folk and rock.

 

Tonight sees a mix of tracks from introspective solo debut ‘Shapes and Shadows’, Gomez favourites and a couple of interesting covers thrown in to please the half full polite mid-week crowd. Kicking off with ‘Black-eyed Dog’, a song perfectly selected to introduce the uninitiated to the raw power of what is to follow, the bespectacled singer’s husky howl shakes the glasses on the tables in front of us ala Jurassic Park.  The track is carefully segued into the luscious open-tuning of ‘Free To Run’, a tune written in his teens that bobs and weaves effortlessly, the latter section accompanied by some precision finger-picking.

John Ashton aka support act Little Gem joins Ben for cover ‘Ain’t No Sunshine’, Ottewell’s voice actually sounding better than Bill Withers; gruffness replacing soulfulness.  The sweeping strings on the original give way to a rather meandering conclusion of keyboard improv, the song proving less triumphant than it promised.  Where some songs dip in quality and attention wanders, Ottewell can summon up that trademark wake-up-Hades bellow to bail him out.  That’s not to say that there isn’t a smooth and soulful element in there too.  On ‘Chicago’, a solo Nick Drake inspired melancholic trip, we can hear the soothing qualities that are said to put his two young twins to sleep. 

Ottewell sails close to Seasick Steve on the fun ‘Love Is Better Than A Warm Trombone’ and penultimate track ’78 Stone Wobble’ has a jazzier feel to it.  “I’m not going to bother with the usual conceit of walking off-stage just to come back for the encore” is the mumbled address as the down-to-earth singer laps up the applause and begins ‘Tijuana Lady’.  After 4 guitar changes and a fair amount of bottled beer, Ben finishes the gig with a stripped down version, passionately delivered with yet more cathedral hall echo.  In all it’s a mesmerizing display from one of the UK’s most original voices and surely worthy of a much greater audience.

The pick of the support acts tonight is the acoustic blues of Ben Pang from Weston, flanked by electric guitars, he energetically delivers an accomplished deep-south take on Dylan.

Kindly published by Venue.co.uk: http://www.venue.co.uk/music-live-reviews-b/19833-ben-ottewell

Setlist:

1. Black-Eyed Dog
2. Free to Run
3. Shapes and Shadows
4. Get Miles
5. Blackbird
6. Hamoa Beach
7. Chicago
8. Pieces
9. Ain't No Sunshine
10. We Haven't Turned Around
11. All Brand New
12. Rosemary
13. Love Is Better Than A Warm Trombone
14. How We Operate
15. 78 Stone Wobble/Not Fade Away
16. Tijuana Lady

Best Track: Watch through link below:

Ben Ottewell - Get Miles


Best albums:

Get Cape Wear Cape Fly - Weds 28th Nov, The Fleece, Bristol

“Anyone know how to start the 2^nd verse?” is the call from singer/songwriter Sam Duckworth aka Get Cape Wear Cape Fly at the busy Fleece.  “I haven’t been out of the house in a long while,” although admittedly nervous it becomes part of the appeal of this self-deprecating but hugely talented troubadour.

Sam and co first came to prominence in 2006 with breakthrough debut album ‘Chronicles of a Bohemian Teenager’ an eclectic indie/folk collection of politically charged songs about everyday life.  3 albums have followed and whilst total mainstream success has more recently been elusive, latest album ‘Mannequin’ has shown glimpses of a stripped-back  but still confident sound maintaining the much-loved Morrissey-style lyrical observations whilst moving away from those dreaded emo generalizations.

Taking to the stage with opener ‘Find the Time’, Duckworth begins well easing into his brand of honest acoustic pop/rock, sounding more engaging with the omission of drums, trumpet and customary laptop.  On next track ‘Call Me Ishmael’ there’s a throaty call to arms reminiscent of an early James Dean Bradfield that quietens the chatter at the bar.  There’s enough of an edge to keep the tracks from sounding contrite and sickly carefully side-stepping the glut of dull male solo strummers mopping up the Radio 2 market.

Growing in confidence after a couple of endearing false starts, ‘Glass Houses’ is a poignant retort to the racial prejudice of BNP policies with a funky folk feel and upbeat chorus that has the audience shifting.  Biggest cheer of the night comes for ‘I Spy’, a well-crafted anthem displaying honesty and disregard for following convention “It doesn't matter that this song has a simple tune, even though it's not what I'm supposed to do.”  Fortunately for Sam, simple brilliance is more than good enough for tonight.  Other oldie ‘War of the Worlds’ hypnotically glides along with occasional acoustic rock-outs and gravelly vocals again lapped up by the enthusiastic audience.

There’s some cheerful banter between Duckworth and the crowd throughout as we hear about his recent battle with illness which resulted in a withdrawal from a headline slot at this year’s Truckfest.  It’s pretty clear that we are witnessing the first steps on a long road back for a genuinely nice bloke with the capability to produce storytelling gems that are accessible and thought-provoking.  This is particularly true for the gig’s highlight the tender ‘Angels in the Snow,’ inspired by a fear of nuclear warfare and the emotional effect of a visit to Chernobyl, the standout track on last year’s album.

                          (Left to Right: Raza Rizvi, Sam Duckworth, Mike Harley, Cat Green)

It’s a successful comeback overall, early nerves are overcome; the crowd are enraptured and eagerly anticipate the next installment.  At a time when politics mixed with music has left most reaching for the bucket, Sam Duckworth’s articulate observational writing continues to ensure he is both relevant and adored in equal measure.

Big shout too for the bushy-bearded Bath singer Sam Eason; who reminds us of a vocally more agile Badly Drawn Boy with the passionate delivery of Damien Rice.  Sam has headlined the Fleece before and am confident he will be playing more gigs there and fewer wedding receptions.

Review published online for Venue.co.uk:
http://www.venue.co.uk/music-live-reviews-g/19802-get-cape-wear-cape-fly

Best Track - Watch online through link below

Get Cape Wear Cape Fly - I Spy

Sam Eason - There Is a Light That Never Goes Out


Setlist - To Follow

Rodrigo y Gabriela - Tues 27th Nov Colston Hall, Bristol

Mexican buskers turned bona-fide guitar heroes deliver a powerful nuevo-flamenco masterclass to a sell out crowd at The Colston Hall.  Their route to stardom has been well documented as a triumph for the underdog.  From playing rough clubs in unsigned thrash-metal outfit Terra Acida (acid earth) to opening for fellow one-time busker Damien Rice who spotted them on the streets of Dublin, Rodrigo Sanchez and Gabriela Quintero have wowed audiences worldwide since 2002 and their legend continues to grow.

After the success of their self-titled album and the critically acclaimed ’11:11’ the band have been almost constantly on the road until time out for Gabriela’s hand stress injuries was followed by ‘Area 52’ a project with a 13 piece Cuban Orchestra who have added a richer, fuller feel to many of their most well-loved tracks.  The duo takes to the stage and strum frenetically behind a white curtain which dramatically cascades revealing the pair clutching their acoustic Yamaha’s.  Hitting their stride early with Rodrigo’s pinpoint finger picking melodies and Gabriela’s relentless rhythms and thunderous knuckle-rapping of the poor defence-less guitar, it isn’t hard to see why they are such a big live draw. Throughout ‘Diablo Rojo’, Rodrigo adopts a rock-star stance, his face a picture of total concentration as Gabriela pogoes around the stage.

Some new songs are showcased tonight that suggests a further shift towards their metal roots. Rodrigo’s guitar is mangled through numerous effects pedals providing some surprising results. Both embark upon a 10 minute solo slot that seems to push them to the limit.  Gabriela begins with an effects laden wah pedal solo that turns into a blistering attack on the senses in Led Zeppelin territory.  Her love for Metallica shines through in the latter part as pulsing rhythms give way to some hard-edged cranking, the lack of drums and bass made up for by some down-right vicious percussion.  Rodrigo opts for more serene melodic tinkering, sidling between acoustic and electric styles with pace and precision, equally impressive for entirely different styles.

There is a natural chemistry between the two as they regularly meet mid-stage blending Rodrigo’s rapid and dextrous finger-picking and Gabriela’s triplet beats and boundless enthusiasm.  Taking turns to address the audience, both are charmingly down-to-earth, Gabriela’s cursing amuses the crowd as she humbly pays tribute to the contributors on their latest record. Highly accomplished keyboardist Alex Wilson joins them for some Havana style jamming which slots in well but ultimately outstays its welcome.  ‘Vikingman’ is played so breathtakingly fast that the audience struggle to keep the clap going, its an awesome sight to behold as once again the alchemy of metal, jazz and flamenco leaves everyone grinning.

Following the night’s highlight a dazzling version of ‘Tamacun’, they leave to rapturous applause and AC/DC blaring out.  The absence of vocals and limitations of their instruments perhaps will make it hard for them to develop enough to maintain their mainstream appeal.  However, what is clear is that they are a must-see experience live, often leaving their audience shaking their heads in joyous disbelief at their technical prowess.    

Review published online by Venue.co.uk:
http://www.venue.co.uk/music-live-reviews-r/19803-rodrigo-y-gabriela

Setlist: To follow

Best Track - Watch online through link below:

Rodrigo y Gabriela - Tamacun

Clock Opera - Weds 21st November, The Thekla, Bristol

"How long did it take you to grow that beard?" is the unimaginative heckle when ex-Nailsea resident Guy Connelly brings his band to the stage. Connelly confidently puts down the fan without offence and the boat begins to vibrate angrily to the opening keyboard chaos of 'White Noise'

It is without question an impressive beard that rivals Zach Galifianakis effort in The Hangover but beard-envy aside it has been a big year for electronic pop combo Clock Opera.  The debut album has taken 3 years to arrive but it isn't hard to see why with the band's intricate, tense and complex rhythm synth-pop assembled with such on-stage and studio perfectionism.  Clock Opera have been ever-present on the support slot circuit for the likes of Maximo Park, Temper Trap and Everything Everything but their first headline UK tour comes to an end tonight at The Thekla and the band are in celebratory mood.

Sounding more impassioned that on album 'Ways To Forget', the 200 strong crowd start shuffling to 'Man Made' a slice of 80's electronica that fuses the best parts of early Gary Numan and Depeche Mode.  Connelly's voice sounding like a more urgent Guy Garvey and the band's trademark off key and awkward time signatures somehow pulse through to cohesive effect.  They have received criticism from some for their over-reliance on technology losing a human feel to their sound (including a ludicrous 2/10 review from NME).  Whilst the album can be an awkward listen, it becomes clear that this is a highly creative quartet with carefully crafted songs that can connect with a live audience.

A vast majority of cuts begin with Doctor Who style burglar alarms except for the hypnotic piano intro of ‘Belongings’ which is reminiscent of Arcade Fire at their most bewitching.  The track builds in true stadium style with echoing harmonies and a chorus which threatens to cut loose into a rock out, instead giving way to an abrupt ending leaving with it a feeling of unanswered questions.  Connelly at one point pulls out what by consensus appears to be a giant rock and begins beating it savagely in time with Andy West’s furious bassline but then anything is possible with this band.

The poppier ‘Lost Buoys’ certainly sounds no worse than anything from the latest Coldplay album and provides a glimpse of a more accessible side to their work that could still draw airplay from the majors.  It is well received by the somewhat timid but appreciative audience who raise a can to yet another dramatic conclusion to a track which has a multi-layered and rich texture.  Penultimate track ‘Lesson No.7’ is a menacing take on Joy Division which begins inconspicuously but builds into a monster with a falsetto Connelly warbling ‘One rule for the weak and one for the strong, neither has nothing to lose’.  The track is their most celebrated to date and overall summarises an assured performance by a band that promise more. With the 80’s electronica comeback still in full swing it could just be their time.

Setlist:

1. White Noise
2. Man Made
3. A Piece of String
4. 11th Hour
5. The Lost Buoys
6. Move to the Mountains
7. Once And For All
8. Belongings
9. Lesson No 7

Encore:

10. Fail Better

Published online for Venue.co.uk: Venue.co.uk - Bristol Gig Reviews - Mike Harley

Best track - Watch online through link below:

Clock Opera - Lost Buoys

The Levellers - Friday 16th Nov 2012, Engine Shed, Lincoln

It's certainly an interesting time for folk-rock veterans The Levellers.  Now on their 10th studio album (a fantastic return to form) and back touring in a time of Conservative-led rule the band have appear to have a new lease of life and a new batch of political/economic gripes to deal with as their energetic 11 date UK tour reaches Lincoln's Engine Shed.

You can always rely on the Levellers to put on a lively show and from surprise opening track 'We Are All Gunmen' it looks clear from the off that they won't disappoint as they lunge into frantic fiddle, furious folk rock and powerful political preaching (this time focusing on returning troops from Afghanistan).  The fantastic acoustics inside the Engine Shed gives the sound a much heavier feel than at some of their previous theatre gigs.  With the venue just under 3/4 full there is ample room for the hugely diverse combo of volatile crusties/hippies and one time lefty students turned middle aged toe-tapping professionals to enjoy the night and co-exist in relative harmony. 

Next up their biggest hit 'Beautiful Day' is unleashed and the two-pint jug wielding crowd are jumping like they're at an Irish Ceilidh.  An unlikely mosh pit develops and a punk with a 'Maggie: Hurry Up And Die' leather jacket is orchestrating an almighty folk hoe-down upon the band's final chorus.  Utterly enjoyable stuff just 10 minutes in.  I read somewhere that the band have a policy to pool all of their earnings and draw a regular daily wage evenly; tonight’s gig testifies to their teamwork, each one bringing a key element to the band’s trademark sound without over-stepping their remit.  Mark and Simon are passing the lead vocal baton all night and there are strong performances from all contributors, the band themselves looking like they are having a great time.

Other highlights of this gig includes ‘One Way Of Life’ a hotly received alternative manifesto with its rebellion against conforming to the ‘system’ which sounds as defiant as it was back in 1992 in the bands real heyday.  The set is heavily drawn from their seminal album ‘Levelling The Land’ including hippie wood-stove sing-along ‘Carry Me’, the anthemic ‘Liberty’ and a faster more ferocious ‘Sell Out’.  Another plucked from this album, ‘Boatman’ brings didgeridoo specialist Steve Boakes to the stage who serenades the bewitched crowd with a droning masterclass.

The middle section of the gig also sees some virtuoso violin work from Jon Sevink who stands on the top stage in front of the drums in low blue lighting like an ethereal Pan The Piper.  New track ‘Forgotten Towns’ has Sevink’s fiddle sounding both eerie and frenetic as Mark Chadwick tells of Britain’s declining high-streets and marginalized communities.  There is a huge cheer that greets ‘Riverflow’ which hurtles along at break-neck speed with its signature fiddle and has the straw hats bobbing metronomically throughout. 

The performance drifts a little in places and it is clear that the majority of the audience haven’t fallen in love with the newest album 'Static On The Airwaves' just yet.  The Levellers-by-numbers ‘Mutiny’ isn’t quite up there with the older work but there is no doubt that the witty story-telling and banjo Wurzels party ‘Recruiting Sergeant’ is fast becoming a live favourite.  The anti-war stance and rejection of capitalist ideals has been a key draw to the disenfranchised and traveller communities throughout their career.  Unlike many of their peers (Bono/Martin), The Levellers have somehow always found a way of marrying politics and music without sounding sanctimonious or embarrassing.  Let’s not forget the fact that they are outstanding song-writers too and many of their most loved songs were omitted tonight (‘Hope Street’, ‘Another Man’s Cause’ and ‘Battle Of The Beanfield’).

They may be struggling to get the airplay and attention in today’s world of reality karaoke and imported R'n'B but on tonight’s evidence they have the fanbase, live reputation and subject material to inspire a new generation. 

Best Track - Watch online through link below:

Levellers - The Boatman

Set-List:

We Are All Gunmen
Beautiful Day
1. The Game
2. Fifteen Years
3. Truth Is
4. The Road
5. Sell Out
6. Raft of the Medusa
7. Before the End
8. Mutiny
9. The Boatman
10. Our Forgotten Towns
11. One Way
12. Carry Me
13. Dirty Davey
14. Riverflow
15. Cholera Well

Encore:

18. Far From Home
19. Liberty

Encore 2:

20. The Recruiting Sergeant

Easy Star All-Stars, Nov 13th, The Fleece, Bristol

Carnival atmosphere at The Fleece as Michael Jackson gets a reggae make-over by US super-collective Easy Star All Stars.

The group is internationally renowned for their creative interpretation of all-time classic albums since their debut 'Dub Side Of The Moon' first caught its audience feverishly bopping in 2003.  The sell-out crowd tonight is a well lubricated blend of indie kid students, dreadlocked dudes and middle aged men in their quest to hear their favourite old LP's without reproach. 

Kicking off with Radiohead cover 'Electioneering' the 8-strong ensemble has everyone swaying early.  The band look like they're having as good a time as its audience, grins fixed all around from the novelty factor of what tonight promises.  ‘Wanna Be Startin’ Something’ sounds more funk than reggae with some delicious and soulful vocals from Elenna Canlas, curiously petite for such a powerful performance. 

Comedy on stage next as a willing young lady is plucked for serenade from the front as the McCartney vs Jackson banter on ‘The Girl Is Mine’ is heartily re-enacted between Shelton Garner Jr and Ras L Ray.  Dub base grooves, stirring horns and passionate vocals from the charismatic Ras L Ray prove to be a winning combo as the band move through the gears, dropping a sublime take on ‘Karma Police’. 

By the time the All-Stars get to ‘With A Little Help From My Friends’ a nugget of unbridled joy, it becomes clear that those that have been dragged along to see the show by fanatical friends have not been disappointed.  An outrageously epic trombone solo has the audience enraptured and no longer self-conscious about their involuntary grooving.

Pandemonium ensues when intimidating giant Ras Emmanuel returns to the stage for another rasta rapping salvo on ‘Thrillah’ sounding as devilishly frightening as Vincent Price on the original.  A surprising change of pace follows with a beautiful acoustic rendition from Garner Jnr of ‘Redemption Song’ which delights the crowd and induces a right royal sing-along. 

Encores ‘Billie Jean’ and the explosive ‘Money’ raise the roof, the band clearly enjoying the bouncing reaction in front of them.  The latter comes complete with an improvised and highly energetic jamming session and some show-stealing keyboard work from the versatile Canlas.

As clichéd as it may sound, it really is true that the band are more than one of the many tribute bands that can be found on the local circuit.  The All-Stars are happy to be guilty of bringing reggae to a mainstream rock/indie audience in much the same way that Buena Vista Social Club widened the appeal of Cuban music with their contemporary covers album 'Rhythms Del Mundo'.  Where they may be sneered at by the hardcore reggae fraternity they are at least bringing new listeners to the genre which can only be positive. 

Although not the tightest group from a technical perspective with wandering guitars and a few vocal slips the overwhelming groove of the dub-base layers that underpin their live act and of course their well-loved track selection makes them a hugely enjoyable and reliable crowd-pleaser.

Setlist:

1. Electioneering
2. Wanna Be Startin' Somethin'
3. Lovely Rita
4. PYT
5. The Girl Is Mine
6. Karma Police
7. Breathe
8. Time
9. Climbing Up The Walls
10. With A Little Help From My Friends
11. Beat It
12. Human Nature
13. Thriller
14. Redemption Song
15. Billie Jean
16. Money

Published online at Venue.co.uk - Bristol Gig Reviews - Mike Harley

Best Track - Watch online through link below:

Easy Star Allstars - Electioneering

Gaslight Anthem - 20/10/12 O2 Academy, Birmingham

A steaming capacity crowd welcomes band of the moment Gaslight Anthem to Birmingham’s sweltering O2 Academy.  This was the final date of their short 5 date UK tour following a hugely successful 2012 that has seen the band sign to a mainstream label, secure a Top 5 album, complete a string of worldwide festival appearances and outgrow their previous UK tour spots. 

The 02 in Birmingham has an awkward layout, an expensive bar and an inch thick coverage of flyer litter making the journey to the bar rather treacherous but the sound and atmosphere tonight are unbeatable. Drawing together students/indie kids and the dad crowd, the venue is dominated by the Gaslight uniform of checked long sleeve shirts in homage to lead singer Brian Fallon's trademark on-stage clobber. The buzz grows through a terrific set from first support Dave Hause; an energetic singer/songwriter reminiscent of a youthful edgier Bryan Adams.  Hause is no stranger to the Gaslight set up as he toured with Brian Fallon on last year's fantastic Revival Tour.  The raucous Blood Red Shoes are next up and unleash a punk-edged salvo that brings out a worthwhile mix of The Pixies, PJ Harvey and The Von Bondies, the crowd bunching up nicely for the main event.

The rather tired Springsteen comparisons to tonight’s headliners are obvious; they share the same home town, fanatical support, love of blue collar rock and roll and mutual respect for each others passionate from-the-heart live shows that leave their fans embracing strangers and dewy-eyed.  New album ‘Handwritten’ is a well documented departure in writing terms from their previous three efforts, its a continuation of the claustrophobic and personal ‘American Slang’ record but returning to the rockier sound of breakthrough album and underrated classic ’59 Sound’.  The band has borrowed heavily from legends of yesteryear with a nod to Tom Petty, Neil Young and of course a cinematic Springsteen at his mid-70's peak but its done so with a precision formula that delivers triumphant cocktail of searing guitars, total vocal commitment and punk-edged rock and roll.  In their current state they are difficult to pigeon-hole; awkwardly sitting somewhere between mainstream Killers/Kings of Leon (but crucially lacking that killer novelty breakthrough hit (see ‘Sex On Fire’ or ‘Mr Brightside’) the spotty teenager pop punk of Blink 182 with a sizable chunk of Pearl Jam/Counting Crows for good measure.

Opening track 'Mae' is a delightful surprise. The atmosphere building tempo and chiming guitars married with Brian's gut-wrenching growl conjure a U2-esque start that elevates its standing when carefully segued into the blitz of signature tune and fan favourite '59 Sound'.  ‘Old White Lincoln’ with its throbbing opening bass and pealing guitars sets up another deafening sing-a-long, surprising given the song’s fast paced lyrics but testament to the devotion in front of them.  New anthem ‘45’ sounds fantastic live, another up-tempo slice of 50’s America with strong harmonies; a power pop master-class. 

Dave Hause eventually joins the band for a rip-roaring ‘American Slang’, an almost cheesy chunk of Americana complete with trademark opening guitar solo from Alex Rosamilia. ‘Mulholland Drive’ another new one is greeted like an extra bank holiday.  Typical of much of the new album there is a brutal honesty and lyrical fear leaving Fallon utterly engaging as ever upon the song’s chorus; ‘I would just die if you ever took your love away’.  The band sound expectantly tight after a lengthy European tour however the usual Fallon banter is rationed tonight, perhaps the band tiring slightly from after an arduous year of writing and touring. It doesn’t affect the energetic ‘Howl’; the band’s own ‘Song 2’ is a joy to a leaping crowd with sprawling arms and aggressive finger thrusting.

Moving through punk oldie ‘Wooderson’ and ill-advised Nirvana cover ‘Sliver’, the band change tack for the ‘Queen of Lower Chelsea’, a gospel tinged soul paean most likely written for Fallon’s wife Hollie.  Although the delirious pogo-ing has subsided it is clear that the band is still able to enchant on a track that threatens to alienate the NME/Kerrang clan.  EP track ‘Blue Jeans and White T-Shirts’ brings the biggest cheer of the night.  A delicate acoustic tale in a Green Day ‘Time of your Life’ mould that gives further insight on the band’s origins and proud heritage, husky vocals talking wistfully of sleeping on beaches and listening to old records meet with haunting guitar strains.  The checked shirts grab their partners.

The band finishes on the majestic ‘Great Expectations’ prompting a spontaneous chant of ‘oh sha la la oh sha la la, listen honey here comes your man’ from not yet played new single ‘Here Comes My Man’.  Further proof that the new record is going down well in the UK and that the band are breaking new ground.  Fallon comes out from behind the curtain beaming and the band duly delivers.  ‘1930’ is another surprise for the hardcore fans with its rough punk edge fitting neatly aside usual closer ‘Backseat’; a clear favourite that ascends to greatness with the aid of keen hand-clapping and honest guitars. 

It’s a superb end to their final UK gig.  Fallon learning how to be a rock star, is as unassuming and humble as ever, clearly the upward curve that the band are experiencing still leaving them surprised and bewildered.  With the quality of the songs and live performances however, it is obvious to the 3,000 capacity sell-out crowd that the band’s star is justifiably in the ascendency.

Best Tracks - Watch online through link below:

Gaslight Anthem - Blue Jeans and White T-Shirts
Gaslight Anthem - 59 Sound

Setlist:

1. Mae
2. The '59 Sound
3. Old White Lincoln
4. Even Cowgirls Get the Blues
5. Boomboxes and Dictionaries
6. 45
7. Mulholland Drive
8. Angry Johnny and the Radio
9. Bon Iver duriSeñor and the Queen
10. American Slang
11. Too Much Blood
12. Howl
13. Wooderson
14. Sliver (Nirvana cover)
15. The Queen of Lower Chelsea
16. The Patient Ferris Wheel
17. Blue Dahlia
18. Blue Jeans & White T-Shirts
19. Great Expectations

Encore:

20. She Loves You
21. Here Comes My Man
22. 1930
23. The Backseat

Mike Ward (left), Alex Rosamilia, Guitarist (mid), Mike Harley (right)

Bloc Party - Bristol O2 Academy 18th Oct 2012

Back in town for the first time since 2009, Bloc Party bring a boisterous long since sold-out crowd to the sweaty Academy for an 18 track reunion belter.

Everything about Bloc Party tonight is precision.  The band more than live up to their tight reputation on stage from Kele's superb range to Russell's angular Greenwood-esque guitar.  Matt and Gordon keep it all together, Matt semi-clad as usual, clothes an unnecessary risk to his machine-gun pelting of the drumkit and Gordon beefing up the groove ten-fold.

3 years is not long in the current climate for a band to be between records but the reception that the band are given surely shows the delighted surprise and gratitude for not only getting back together (when an indefinite hiatus seemed most likely) but also movng back to the guitar-led focus of the first two albums.

Although Octopus most definitely sounds better live than on new record 'Four', it lacks the killer bite of their earlier work.  It is rescued by some virtuoso guitar techniques from Russell, clearly still continually adding to his repertoire of Marr/Greenwood experimentations.  The double delay riff on the Telecaster takes some seeing to be believed but you can't help feel that it is let by down by a weak chorus.

Moving through the gears, the band are in celebratory mood, Kele and co are clearly chuffed to be in demand still, albeit at a time where indie rock seems to be heading back underground.  'Hunting For Witches' lifts raises the roof, it's lyrics never more apt than in today's paranoid society drawing on criticism of the nation's press long before Radiohead's recent attack on the Daily Mail.

'Kettling' is an interesting one that goes down well.  Bordering on metal with a driving bass and screaming vocals it's a juggernaut blend of 'Myxamatosis' and 'Pure Morning' a clear hit in the moshpit. Cue much spillage.  Indeed more than half of 'Four' has a much thicker, darker and heavier feel that may not open the door to new fans but certainly shows that the creativity and fearless quest for new sound is still apparent.

Older fans will have certainly enjoyed the next 15 minutes that followed.  'Song For Clay' with it's borrowed 'Paranoid Android' riff played backwards is a highlight at the best of times but carefully segued into 'Banquet' has the crowd whooping and nodding to one another.  'Waiting For The 7.18' provokes an unlikely singalong about a trip to Brighton on a track that is slightly faster than usual, the band doubtless keen to get on with showing off the new album. 

In 'Team A', Kele nonchalantly promises; 'I'm going to ruin your life' in a track that has more edge and threat than a bank holiday bar crawl in nearby Stokes Croft.  'V.A.L.I.S' draws on the keen disco beat of 'I Still Remember' with heavenly jangling guitars melting on top of one another deserving it's applause if not entirely for the courage to include the words 'Theophany' and 'Phenomenology' in a coherent way.

'This Modern Love' shows Bloc Party doing what they do better than anyone, floating melodic guitar and electronica with a heartfelt 'Throw your arms around me'; a bittersweet ode to the misunderstandings of modern day relationships.  'We're Not Good People' is fantastic in a live arena, it's funky bassline and Kele's rasping vocals answered in retort by Russell's spitting guitar; it's a bonkers ride that feels like 'Hysteria' meeting 'Song 2'.  Into the encore and 'One More Chance' has everyone dancing, it's piano beat reminiscent of early '90's Hacienda house.  It's a clear contrast from the heavy clashing of the previous tracks, again showing the band's creative versatility and proving that their influences stretch further than the well reported indie/rock elite. 

'Helicopter' finishes the first encore and is despatched in a whirlwind that can't last long enough.  It's a quick tempo guitar-hero monster that has its audience united in singing 'Are you hoping for a miracle'.  If miracles do come true then surely a headline Pyramid stage slot next June would prove testament.

A bonus encore of 'Truth' and 'Flux' round things off well.  The former consisting of more resonating chopsticks guitar and heartfelt lyrics building into a lush middle section showing that for all the hard edged rock on the album, the band still know how to write melancholic anthems.  'Flux' complete with bizarre Rhianna intro is a lighthearted dance/electro hybrid that whilst not being one of the band's better set closers does highlight the wide palate of sounds and styles that they now have at their mercy for now highly anticipated album number five.

A thoroughly enjoyable set from a band that seem rejuvenated and ready to move on.  Pulling songs together from 4 albums and b-sides/additional singles shows that Bloc Party have the back catalogue and creative appetite that most of their peers are sadly lacking.  Hopefully another summer of festival appearances and follow-up album will come but for now there is no doubting that their fantastic live reputation is solidly intact.


Setlist:

1. Octopus
2. Trojan Horse
3. Hunting for Witches
4. Positive Tension
5. Kettling
6. Song for Clay (Disappear Here)
7. Banquet
8. Waiting for the 7.18
9. Team A
10. V.A.L.I.S.
11. This Modern Love
12. We Are Not Good People

Encore:

13. Signs
14. One More Chance
15. Ares
16. Helicopter

Encore 2:

17. Truth
18. Flux

Best Track - Watch online through link below:

Bloc Party - Banquet

Published online at Venue.co.uk - Bristol Gig Reviews - Mike Harley