Gaslight Anthem - Thurs 21st March - O2 Academy

Stop anyone on the street and ask them if they’ve heard of New Jersey’s Gaslight Anthem and you’ll almost certainly get a frown and a shake of the head.  All the more amazing then that ‘the boys from Little Eden’ have managed to sell-out not just one but two consecutive chilly nights at the O2 Academy.  Bruce Springsteen’s favourite band are riding a wave after joining a mainstream label and finally getting a taste of the big time following the success of last year’s Top 10 album ‘Handwritten’. 

Gravelly throated frontman Brian Fallon’s tales of life above and below the boardwalk have helped the once punky quartet to almost cult-like status in the UK.  Usual opener ‘High Lonesome’ is a fair indication of the hurtling blue-collar rock’n’roll that has become the band’s trademark; rousing anthemic choruses about classic cars and old rock stars on the radio, tidy guitars, urgent drums and arguably the most passionate vocals in rock at the moment.  Tonight’s set is a more hit-packed event than the following night with tracks mostly from breakthrough album and fan’s favourite ’59 Sound’ mixed with the more introspective but equally rewarding ‘Handwritten.’ 

Early on and it’s the title track from the album that has the crowd clapping in unison as Alex Rosamilia’s Fender Jazzmaster delivers his most soaring masterclass yet in front of the dangerously packed audience.  ‘Even Cowgirls Get The Blues,’ another one better live than in studio is a blues tinged gospel riot that gives the crowd a breather without being any less impressively rousing.  Fallon may have been advised to curb the usual charming onstage chatter that was a staple of their early UK tours however he still looks every bit the cat that got the cream, full of smiles and playful banter between his bandmates despite their grueling schedule.

A fairly needless ‘House Of The Rising Sun’ throws it off course a little but by the time they’ve weaved in the odd b-side and progressed to the all-conquering ‘Great Expectations’ there’s no doubting the stadium-filling potential.  It’s a far from original formula but the tight group have borrowed and fused well-loved genres of folk, rock and punk to please the masses achieving the same collective bond between themselves and the audience and the audience and each other that is rarely experienced.  Fallon’s songwriting is maturing to match his wardrobe of checked shirts, but it’s far from dour and dull as gritty emotional quandaries are played out with driving pomp to a beaming audience. 

‘59 Sound’ is a pop-rock masterpiece it’s astonishing power too much for even the hardiest meat-head in the crowd to cope with.  Fittingly the night ends with a triumphant cover of Who classic ‘Baba O’Riley’ to which Fallon joins Dave Grohl doppelganger Benny Horrowitz on drums before throwing his bandmate’s seat across the stage.  An ode to fun, youth and friendship it sums it all up; soft-rock and -er well, anthemic Americana that packs a punch and a performance that only enhances their live reputation as one of the finest around.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-g/20397-gaslight-anthem

Best Track: Click on link below
The Gaslight Anthem - 'Handwritten'

Setlist:

1. High Lonesome
2. Casanova, Baby!
3. Old White Lincoln
4. Handwritten
5. 45
6. Señor and the Queen
7. Orphans
8. Even Cowgirls Get the Blues
9. House of the Rising Sun (The Animals cover)
10.Miles Davis and the Cool
11.Howl
12.Biloxi Parish
13.Blue Dahlia
14.The Queen of Lower Chelsea
15.Great Expectations
16.Keepsake

Encore:

17.She Loves You
18.Here Comes My Man
19.Mulholland Drive
20.American Slang
21.The '59 Sound
22.Baba O'Riley

Albums;

Bouncing Souls - Tuesday 12th March, The Fleece

25 years ago New Jersey guardians of East Coast punk, The Bouncing Souls were leaving a prolific trail of destruction across the university halls and bars of North America.  Often gigs had to be abandoned or broken up by the authorities as the band tore up most of the country with their inflammatory live shows.  Mixing gritty working-class sensibility and uncompromising frenetic 3 minute power-punk the band has toured with Green Day, NOFX and Hot Water Music amongst others, dividing critics but never their devoted fanbase.

Taking to the stage at The Fleece in front of an edgy energetic crowd they launch into “Hopeless Romantic,” a catchy lighthearted intro which has the rather inanimate and slight front-man Greg Attonito at his most romantic; “I’m kinda lazy and I kinda stink but I’ll clean myself up for you.”  It’s a theme that continues as the band triumphantly hop around their 9 album back catalogue with main topics covering hanging out with friends (“Manthem”) and living life to the maximum (“True Believers”).   

Attonito looks far from focused on stage in what proves to be a confusing sight.  The band creating pandemonium in the pit but the ageing frontman remains almost motionless and a little awkward with a persona more of a 50’s crooner than respected punk icon.  Surely not an attempt at the nonchalant Mancunian swagger?!  It all gets a bit odder as the crowd, some of which have the followed the band over from New Jersey begin to invade the stage and jump into the rampant audience.  Completely unfazed and without raising more than a wry smile, Attonito simply walks away and repositions himself next to livewire and reversed baseball capped bassist Bryan Kienlen.

 

The band’s new material from last year’s “Comet” album is somewhat different to the tried and tested pre-Green Day college pop-punk.  Well received “Coin Toss Girl” sounds more Fountains of Wayne (“Stacey’s Mom”) than Rancid.  Hinting at a more melodic mid-paced future, Attonito’s vocals are on the money and the crowd unite in hailing “Call it in the air, everything’s fair.  I love you like a fool, what can I do, my coin toss girl.”  The final bars reminiscent of fellow Jersey legend Bruce Springsteen’s ‘Born To Run’ but bereft of the latter’s trademark passion. 

Returning for a brief encore and we’re back to the hurtling garage punk that was commercially bottled and bastardised by Blink 182 and co.  Powerhouse drummer Michael McDermott gets the man of the match award tonight for some superb thrashing whilst some of the band appears like they’re going through the motions.  Overall it’s an enjoyable night; the band enjoying a cult-like following with a new generation of fans and for the most part it’s a great ride.  The band appear to be more about positive thinking, hedonism and rising over adversity rather than political rebellion; very much living up to their name as the Bouncing Souls.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-b/20300-bouncing-souls

Best track: Click on link below
Bouncing Souls: "Hopeless Romantic"

Setlist:

1.  Hopeless Romantic
2.  Private Radio
3.  Anchors Aweigh
4.  Kid
5.  Comet
6.  The Something Special
7.  Sing Along Forever
8.  Hybrid Moments (Misfits cover)
9.  Coin Toss Girl
10. I Like Your Mom
11. Argyle
12. Gone
13. Ship in a Bottle

Encore:
14. Kids and Heroes
15. True Believers
16. Here We Go

Albums available:

The Virgin Mary's - Thurs March 7th, Louisiana

‘Wow Bristol you’ve really grown’ frontman and guitarist Ally Dickaty observes on raucous power-trio The Virgin Mary’s return to the Louisiana.  No longer a handy warm up act to the likes of Ash, We Are Scientists and Eagles of Death Metal, the Macclesfield group bring their homage to classic 70’s rock to a packed sausage-fest crowd in celebration of recent release and well-received full length debut ‘King Of Conflict.’

In a time when guitar bands are about as popular as a Lib Dem party political broadcast, tonight’s headliner appear to be resolutely ploughing their own furrow fusing grunge (Mudhoney, Screaming Trees, Nirvana) and ‘good old fashioned’ 70’s rock with a healthy dose of northern grit and twist of punk.  Furious opener ‘Just A Ride’ sees madcap drummer Danny Dolan stood upright bludgeoning his kit like he’s chopping logs as black mop wielding Dickaty’s vocals work their way towards a feverish boiling point.  It all goes down well with the lager guzzling crowd who earnestly nod along, the band an unapologetic throwback to a glorious age of pre-prog rock.

 

The band are a tight unit on stage, all eyes fixed on Dickaty on the left hand-side as he opens the stomping ‘Out Of Mind’ with a riff reminiscent of Fleetwood Mac hit “Rhiannon.”  There’s no shimmering guitars and silky harmonies here though, instead we’re treated to a vintage Led Zep/Stones piledriver complete with an outrageous Slash endorsed guitar solo and chorus of; “The world spins out of time and everybody’s out of their fooking mind.”  Matt Rose provides the cheeky strut basslines that create the ideal platform for Dickaty’s Page-esque twiddling as the band delight the baying audience with their raw energy. 

Moving onto Aerosmith-like “Portrait Of Red” the sand-paper throated singer shrieks “Baby treat my body like a compass” in truth sounding more Nic Cester (Jet) than Steve Tyler.  No matter, it’s both committed and powerful as those who saw last year’s breakthrough Isle of Wight set can testify.  “Dressed To Kill” is a real highlight which has the crowd whooping; crashing drums, brooding vocals and the kind of convincing melodic hook that indie bed-wetters Feeder would fantasise about.  Vintage 70’s bluesy rock is given a new lick of paint for the night’s best track “Dead Man’s Shoes” –which sees three chord fuzzy pomp at its finest. 

OK so it might be trying to re-invent the wheel a touch but when its done with the kind of passion and power tonight it proves to be well short of being brainlessly loutish.  The Virgin Mary’s show that there’s more in the locker than just the ability to eat up the same market that eagerly await the latest Foo Fighters release.  In truth it’s the kind of macho riff-heavy driving rock perfect for frustrated Kasabian and pining Oasis fans; live they’re an incendiary riot and shot in the arm to a flailing genre.  They’re sure to be a hit this summer on the festival circuit and tonight’s belter of a set points towards a bright if not luminary future.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-v/20278-the-virginmarys

 

Setlist TBC

Album:

 

 

Little Green Cars - Thursday 28th Feb, The Louisiana

It’s about this time of year that every critic and music industry ‘expert’ monotonously heralds their tip for the next big thing; many of which (via a fleeting appearance on Jools Holland and a couple of lines in NME) head back to pub corner obscurity at the same rate of knots in which they surfaced.  Much hyped Dublin folk/rock quintet Little Green Cars are as safe a bet you can back for stardom however.  Effortlessly fusing Nicks/Buckingham harmonies and rousing Arcade Fire melodies with lyrical themes of unrequited teenage love and growing up, the band are lapping up universal adulation as their sell-out UK tour concludes tonight. 

Lofty lead singer Stevie Appleby leads them through the audience and onto the cramped stage giving a wry smile after a near-miss with the low foam-backed ceiling, much to the crowd’s amusement.  Flanked by birthday boy guitarist Adam O’Regan, Donagh O’Leary (bass, vocals) and pint-sized powerhouse Faye O’Rourke (guitar, vocals) he cuts an imposing figure, almost unrecognisable from the early Youtube demos that first caught the attention of Island records.  Unfazed by the capacity crowd, Appleby confidently chirps “Bristol, we love your giant ball, you know the big silver thing in the square.” Nice.

Bravely opening with a cappella track “Red,” the group’s tight trademark 5 part harmonies enchant from the off.  Even the redundant drummer gets stuck in as we’re given an impressive choral intro to the band’s most powerful weapon.  Sure, it’s Mamas and Papas meets Crosby, Stills, Nash and Young americana with a celtic twang but it stops short of being too sickly/contrite.  The audience’s patience is rewarded as keen acoustic strumming begins the heavily rotated radio hit “Harper Lee”, the band’s showcase of lush melody and harmonies.  Appleby adopts a fragile Wayne Coyne vocal that works in perfection with the jangling guitars and punchy drums, with the whole band layering over him it’s a polished slice of power pop that’s met with roaring approval.

Impressive guitarist Faye O’Rourke takes centre stage on “My Love Took Me Down To The River To Silence Me.” Florence Welch meets PJ Harvey in a sublime salvo of soul and sass which even the sugary Carpenters backing vocals cannot derail. It’s a formula that works better on the brooding ‘Them’ and lively standout “Big Red Dragon”, the band showing the mature songwriting capabilities that will surely stand them in good stead.  Debut single “The John Wayne” triumphantly closes the set.  More delicious harmonies, thumping drums and even a rare guitar solo with an almost hypnotic mantra of ‘It’s easy to fall in love; it’s easy to fall in love with you.” 

It’s an astonishingly assured performance from a group so young and with Coldplay/Arcade Fire knob-twiddler Marcus Dravs at the helm for their imminent debut release and a string of summer festivals in the calendar, there’s no doubt that Little Green Cars will power onto the mainstream motorway.  Anthemic, ambitious and with a charming innocence of youth, there’s further evidence tonight that the hype is justifiably accelerating them towards a great future.

Kindly published by Venue: http://www.venue.co.uk/music-live-reviews-l/20252-little-green-cars

Setlist TBC

Best track: Click on link below
Little Green Cars - The John Wayne

Albums: