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:

Jim Lockey & The Solemn Sun - Feb 10th, The Louisiana

"We are literally living our dream at the moment" is the proud message from Jim Lockey this evening as arguably the South-West's hottest property tear up the sweat-drenched Louisiana after their first headline tour hits Bristol.  The punk-folk Cheltenham quartet are tantalizingly close to breakthrough after recent exposure from Kerrang and Radio 1 as they are soon to depart for a huge US tour supporting The Dropkick Murphys. 

 

Superbly produced and much improved second album 'Death' has propelled the band towards mainstream attention with its appealing mesh of Levellers anarchic folk and heavy nods towards Bright Eyes, Biffy Clyro and head cheerleader label-mate Frank Turner; the group completely casting aside the unfair Mumford wannabe tag.  In frontman Jim Lockey there’s a voice which initially isn’t easy to fall in love with; gut-wrenchingly passionate, sometimes too much and if you’re being overly critical, like A N Other emo American group.  It’s only after the first couple of tracks and the triumphant ‘Songs About Death’ it becomes obvious that it works perfectly with the band’s sound and lyrical themes.  Chris Capewell’s flawless, fizzing guitar work steers the sound away from flat folk into angular rock whilst Philip Randall impishly hops around the stage in the mould of RHCP nutjob Flea delivering some brutal bass. 

The hardcore punk rock influences are clear not only in their love for banging choruses but also in their appearance on stage; clearly able to fit in well with the Kerrang crowd but also crossing into the adult rock arena with the anthemic blue collar sincerity of The Gaslight Anthem and more locally, Billy Bragg.  Although its not the 25 million audience they played to at the Olympic opening ceremony last year, there is a lot of love in the room for the band as some hearty singing testifies.  And whilst they lyrically delve into themes of anti-nationalism (‘England’s Dead’), battling adversity (‘Wishing Well’) and freedom fighting (‘Warriors’), there’s some real maturity in Lockey’s writing that promises much. 

 

Into the middle of the set and the band decide to abandon the stage and assemble in the audience for live acoustic favourite 'Boat Song'.  Every bit as energetically committed unplugged amid the beaming crowd, Lockey and co huddle around, a brave young group of lads harmonising a la barbershop quartet backed only by melodica and acoustic guitar, one of the night’s highlights.  Back to the stage and ‘Warriors’ has the front few rows in another anarcho-folk frenzy with its pacy strumming and its celebrated passionate throaty calls to arms; ‘You’ll be the saviour of this kingdom, well yeah f**king right.’

 

The set closes with anthemic single 'England's Dead' beginning with gentle Damien Rice acoustic fumbling and building intricately into a cacophony of wailing guitar and galloping drums.  The fervent crowd echo Lockey's angry ultimatum of 'You're either with them or you're one of us'.  Just shy of 45 minutes, it’s a powerful showcase of passionate poetic country-punk from a band with all the tools and a fast-growing fandom to break through this year.

Kindly published by Venue website:
http://www.venue.co.uk/music-live-reviews-j/20166-jim-lockey-a-the-solemn-sun

Best Track: Click on link below
Jim Lockey & The Solemn Sun - Wishing Well

Spin Doctors - Sun Jan 27th, The Fleece

Wow it’s a little over 20 years since the release of multi-platinum debut ‘Pocketful of Kryptonite’ which introduced us to the slacker funk/rock of New York’s Spin Doctors.  Back in the UK to tour new blues album ‘If The River Was Whiskey’, the one-time proclaimed biggest US non-grunge band of the early 90’s can still sell out the Fleece with their unusual mix of stoner jams and improv blues.

The band have often found it hard to shake off the unfairly attributed novelty tag after the success of the devilishly catchy ‘Two Princes’ and as they take to the stage it’s apparent that time hasn’t been too unkind to the aging rockers.  The livewire Chris Barron limbers up with his back to the audience as the band launch into fan favourite ‘What Time Is It?’  At this point it’s clear why such stretching was necessary as between visits to the microphone; Barron unveils a John Cleese style round-house kick that would draw cheerleader envy.  No longer looking with the appearance of Swampy’s younger brother, the playful singer twitches about the stage comically looking uncannily like Simon Pegg in ‘Shaun Of The Dead.’

Backed by impressive guitarist Eric Schenkman -every inch the rock star with Carlos Puyol’s permed mop and with Flying V in hand, the group cruise through much of the first album to the delight of the rowdy audience.  Its been over 8 years since their last album together but there’s no sign of any rustiness and whilst beefy bassist Mark White is pre-occupied with goading some young lads by the side of the stage, the band are pretty tight.  The trademark bluesy jams threaten to de-rail the early momentum with a needless extension of ‘Shinbone Alley’ but with Barron leaping around the stage, his voice as strong as ever; they just about pull it off. 

There’s a change of pace for the fantastic Creedence Clearwater Revival cover ‘Have You Ever Seen The Rain’ which although not too dissimilar to the original, goes down a storm.  Shortly after, a familiar snare roll brings the inevitable as Barron declares ‘Some people seem to like this one’ as they launch into ‘Two Princes’.  Like a more tolerable ‘Place Your Hands’ by Reef it leads to the frontman orchestrating a well participated sing-back of ‘Just go ahead now’.  Hits out of the way, the band move the set away from the early Red Hot Chili Peppers funk and into heavy blues territory.  Overblown pompous guitar solo’s galore and a showcase from each band member ensures they hit on almost every rock’n’roll cliché possible as Barron admires his bandmates from the back of the stage.

 

Finishing with a 3 track encore that includes bonkers funk-fest ‘Yo Mama’s a Pyjama’ its an enjoyable performance by rock’s forgotten heroes.  Though their time at the top was fleeting their technical musicianship and ability to make the crowd smile remains intact.  After a long studio hiatus, the band seems re-invigorated and content with what Barron admits was always their real ambition, ‘to play blues for a living and not have to get a real job.’

Kindly published by Venue website
http://www.venue.co.uk/music-live-reviews-s/20124-spin-doctors

Best Track: Click on link below:

Spin Doctors - 'What Time Is It?'

 

Buy Now!

 

Yes Rebels - The Old Bookshop, Friday 25th January.

Thunderous drums and scorching guitars violently shake the chandelier of trumpets, trombones and french horns above the bar as Bristol rock hopes Yes Rebels storm Bedminster's hottest venue, the fantastically quirky Old Bookshop.

Bobby Anderson’s latest band is here to rock.  From the early strains of a lengthy sound-check through to the final unequivocal ovation it’s a real wonder that the entirety of the bonkers décor nailed to the walls of 65 North Street has remained intact.  Oars, stuffed animals, typewriters and crockery teeter above a sweaty capacity crowd in the boozy Friday night haze as the band take to the postage stamp sized stage.

Together now for over 3 years, Yes Rebels are now an established ‘must-see’ indie/rock live act across the city.  Former Fortune Drive singer Anderson can yell with the best of them but throughout the set it’s clear that his voice has real soul.  Not surprising when you consider that his mother is one-time Young Disciples and Brand New Heavies singer Carleen Anderson, herself the god-daughter of soul legend James Brown.  By no means the only talent in the band however; big boned sticksman Des Rodgers punishes the drums as if he is out to destroy them.  Guitarist and backing vocalist Tom Kurias provides great harmonies and some bookshop-storming solos whilst accomplished lanky bassist Steve Handover provides the chugging dirty groove that drives them forward.

The diminutive front-man is a charismatic presence on stage; vocally reminiscent of a richer, fuller Kele Okereke with the slightly sinister edge of Josh Homme. Although they lack the killer tunes to make a commercial breakthrough the band play with limitless energy and look like they’re enjoying the occasion.  A throwback to the 70’s with a twist of 90’s garage rock, it’s not hard to see the influences on their fuzzy soft-metal sound. Whilst it’s not wholly groundbreaking stuff, there’s no doubt that the crowd are having a ball.  Monster choruses and Led Zep rockouts with some savage percussion prove hard to resist for most and the versatile Anderson spits like the world is about to end. 

For the most part it’s a potent mix of classic rock and power pop-punk, solid, sometimes stodgy but with enough bite to keep the audience enthralled in the welcome sauna of the kooky venue.  Raucous highlight and finale ‘Out of the Gun’ has a Queens Of The Stone Age menace married with the deep grungy scuzz of Nevermind-era Nirvana that has the audience bouncing and pints spilling.  Hot-footing it to the exit to grab some much needed (freezing) air its obvious that the band have given it their all.  The vintage retro cool of the Old Bookshop proves the perfect partner to the band’s raucous homage to the past; Yes Rebels, yes please.

Kindly published by Venue
http://www.venue.co.uk/music-live-reviews-y/20079-yes-rebels

Best Track: Click on link below
Yes Rebels - Out of the gun

Jimmy Goodrich / Lonely Tourist - Fri 11th Jan, The Grain Barge, Bristol

A couple of acoustic treats on the rejuvenated Grain Barge tonight to fight off the winter blues sees the return of Canadian class act Jimmy Goodrich and much-loved Glaswegian troubadour Lonely Tourist.

 

 

Paul Tierney aka The Lonely Tourist (in contrast to what his pseudonym suggests) actually appears to be enjoying living in Bristol.  Gigging heavily across town, his carefully crafted storytelling and whirlwind guitar has justifiably earned him respect as the star turn in the support slot. Playing to an enthusiastic but sparse audience below deck, Tierney has the poetic sensibilities of ex-Idlewild frontman Roddy Woomble with a frantic Johnny Cash powerdrive. Playing tracks from much improved second solo album 'I Live Where You Are' we are taken on a trip inside the mind of an artist lamenting false dawns of hitting the big time and coming to terms with no longer being a young man.

Foot-tapping standout 'Rattling Around' has a clutch of memorable metaphors that echo his struggle for success including my favourite; 'I've added up the change in life's guitar case, 2 buttons a euro and 85 pence, it's just as well I'm doing this for fun, cos someone's making money when I make none.'  It’s melancholic stuff at times but when it’s delivered with Jimmy Carr one-liners and a blistering pace, it’s hard not to warm to the self-deprecating Scotsman. 

 



 

Headliner Jimmy Goodrich cuts an imposing figure on the tiny stage as he mezmerises the audience with his offbeat indie-acoustic set drawing heavily on 2011’s excellent ‘Goneland’ album.  Goodrich has a deliciously clean almost alpine guitar style, sometimes drifting into Segovia territory whilst harbouring a timeless, soulful croon oozing quality.  ‘Blind to the time anew’ with grooving Indian rhythms and wandering vocals is a unique trip delivered with almost nonchalant ease.  Having toured with Rufus Wainwright, who proves to be a weighty influence on tonight’s main act, Goodrich also brings with him the aforementioned impressively nimble guitar work and one of music’s most tuneful whistles to tonight’s performance (found on a plethora of tracks including the serene ‘Sing High Sing Low’).

 

The confident singer, with more than a passing resemblance to a youthful Sting/Mike Rutherford, holds the crowd well as he takes us on a journey of his life covering life in Canada, touring the world and settling down in Bristol.  ‘Goneland’ is an awkward listen for proud patriots in the audience as Goodrich gives a tongue-in-cheek critique on his newly adopted county; ‘All of my dreams of a green pleasant land are dying of boredom in council tax bands.’  Best track ‘Her Fire Has Gone’ is a creative mix of Latino strumming, wistful lyrics and a luscious Jeff Buckley-esque vocal performance that draws generous applause.  Tailor-made for such an intimate venue, Goodrich pushes the evening’s curfew and leaves no doubt that whilst not wholly original he is more than capable of writing complex bittersweet odes with enough of an edge to commit the audience. 

It’s a very promising start to the year for the Grain Barge with two top talents raising the bar for 2013.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-g/20051-jimmy-goodirchlonely-tourist
 

Best Tracks: Click link to watch/hear

 

Lonely Tourist - Rattling Around

Jimmy Goodrich - Her Fire Has Gone

 

Latest albums: 

 



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