Wednesday 28 November 2012

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



Friday 23 November 2012

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:
  1. 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


Monday 19 November 2012

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

Wednesday 14 November 2012

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


Wednesday 7 November 2012

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. Señor 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:
  1. She Loves You
  2. Here Comes My Man
  3. 1930
  4. The Backseat



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