Manic Street Preachers - Monday 23rd Sept, Colston Hall

“Overweight and out of date” sings 44 year old Manics frontman James Dean Bradfield on a rare performance of ‘Elvis Impersonator: Blackpool Pier’ as the Blackwood trio roll into town in support of 11^th album ‘Rewind The Film.’  Whilst the band may be carrying a few extra pounds from the heady Britpop days, they still have an adoring army of fans and positive reviews of the new release (an assured address to middle-age) seem to be pointing towards yet another resurgence.

The spectre of enigmatic guitarist Richey Edwards still looms large over every performance as the band fondly recount anecdotes of early gigs and the wild escapades of their disappeared/departed (you decide) former fourth member.  As the bands newer material is culpable of sliding into the Radio 2 friendly territory that bassist Nicky Wire lambasts of other bands weekly in NME one wonders what Edwards would make of the ‘no electric guitars’ policy on the latest record.  Thankfully it won’t be long though for fans of the early edgier albums to ride it out as the anticipation of next years rumoured ‘punk’ album sates the appetite for a more energetic approach.

Tonight’s gig begins with some real class and a ferocious ‘Motorcycle Emptiness’ showcases Bradfield’s sumptuous guitar licks that surprises everyone as an opening choice.  The offbeat, moody ‘Ready For Drowning’ follows and couldn’t be more of an antithesis, Bradfield’s glorious vocals shine in what now feels like an underrated album track.  Wire, looks typically garish in red trousers on the right but he ought to be wearing a striped black and white t-shirt and balaclava for his shameless theft of the Neighbours theme tune on latest hit ‘Show Me The Wonder.’  With honking gorgonzola trumpet buffoonery and sickly MoR chorus isn’t the groups finest hour and the crowd are largely inanimate, pining for the next Bradfield guitar solo.  Fortunately the understated melancholy of ‘4 Lonely Roads’ redeems well as silky-voiced welsh starlet Cate Le Bon joins them onstage.  There’s no Richard Hawley for the new album’s title-track and the frontman struggles with the Sheffield crooners depth on a track where clumsy lyrics threaten to spoil.  

‘You Love Us’ is humorously dedicated to the Bierkeller who made the band pay £100 to perform in their formative days.  With a heavily drenched brown jacket, Bradfield holds the stage unaccompanied for a mezmerising solo of ‘The Everlasting’ which follows dull as dishwater newbies ‘This Sullen Welsh Heart’ and ‘(I Miss The) Tokyo Skyline.’  Powerful political assault on the middle classes ’30-Year War’ is the pick of the new tracks showing that Wire hasn’t lost any of his biting lefty wit.  Finishing with glorious punk (‘Motown Punk’) and the colossal Design For Life’ we’re reminded of the true qualities of a band fighting the tides of time but still with the power to unite embracing strangers and fully wrench the guts.  It’s a hit packed set and for the most part one of impressive variety, above all though it’s one that proves the undying appeal of a band that will surely go down as one of the most important of the last 20 years.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-m/21139-manic-street-preachers

Best Track: Click on link below
Manic Street Preachers - 'Motown Junk'

Setlist:

1. Motorcycle Emptiness 
2. Ready for Drowning 
3. Your Love Alone Is Not Enough 
4. Show Me the Wonder 
5. Anthem for a Lost Cause 
6. (It's Not War) Just the End of Love 
7. You Stole the Sun From My Heart 
8. 4 Lonely Roads (with Cate Le Bon)
9. Rewind the Film 
10. You Love Us 
11. If You Tolerate This Your Children Will Be Next 
12. This Sullen Welsh Heart 
13. (I Miss the) Tokyo Skyline 
14. The Everlasting 
15. Elvis Impersonator: Blackpool Pier 
16. Revol 
17. Tsunami 
18. Sleepflower (Snippet)
19. 30-Year War 
20. Kevin Carter 
21. Motown Junk 
22. A Design for Life 

Buy albums here:

Babyshambles - O2 Academy, Wednesday 11th September

Nobody divides public opinion quite like Pete Doherty.  Adoring Libertines fans have long since placed him on a stratospheric pedestal as a tortured genius, some sort of modern day prophet/poet, misunderstood and afflicted.  And to the non-believers he will always be a cautionary tale; a disgusting mess perhaps culpable for the tragic demise of national treasure Amy Winehouse.  Whichever camp you sit in there’s no denying that the unpredictable frontman is pure box office and from the early soundcheck adorned in just a towel and turban, the entertainment factor is never in doubt. 

 

 

It’s been a busy year for the eccentric ringmaster, still legally exiled from living in a London postcode Pete has enjoyed a bohemian renaissance with new room-mate Macauley Culkin in Paris where recent mischief has seen him banned from French trains for thieving uniforms.  After his underwhelming solo debut Babyshambles are back together for third album ‘Sequel To The Prequel’ –another new lineup and one feels, a final chance to reward their label’s patience.  With customary tardiness, Doherty takes to the stage in a sharp suit flanked by elder statesman guitarist Mick Whitnall and lively bassist Drew McConnell.  It’s a decent first half an hour which kicks off with Kinks influenced ‘Delivery’ followed by impressive new single ‘Nothing Comes To Nothing’ prompting some heavy showers of beer in the pit.

 

Doherty sheds his jacket to reveal an ill-fitting white shirt, in truth he looks awkward and anxious without a guitar, wafting his microphone around like a sozzled Ian Brown.  No longer the firebrand of ten years ago for sure but the mixed crowd of smashed hipsters and less animated voyeurs are at least treated to some reasonably tight work on new tracks ‘Farmer’s Daughter’ and lyrically amusing ‘Penguins.’  Then, a turning point.  Potty Pete puts down two pints to the crowd’s delight and accidentally switches his microphone off.  Further shrieking sound issues result in a stand being hurled into the crowd and the tottering singer swings the mic round repeatedly scraping the floor.  The band are now ragged throughout ‘Fuck Forever’, all eyes on the stricken frontman, his vocals reduced to incoherent mumbling.  Taking a trip on the stage he’s unceremoniously dragged to his feet and the group exit the stage. 

“Can anyone play drums?” –they’re back on minus drummer Jamie Morrison and Drew McConnell.  A reluctant roadie is drafted in and the remaining crew stand left of stage mouths aghast at what follows.  Playing the first thing that pops into his head and abandoning it almost as quickly Doherty covers in part, ‘Ask’ (Smiths), ‘Waterfall’ (Stone Roses) and ‘Cigarettes & Alcohol’ replacing the former for crack cocaine.  Stumbling around the stage he smashes the drumkit with the mic and grabs a trilby from the audience concluding that “If only you’d have given me the hat at the beginning everything would have turned out fine.”  More nonsense ensues before the venue cut the sound and Doherty collapses to be dragged off by hands and feet by the long-suffering crew.  Quoted as saying recently “I’ll need to cut my hand off to beat crack” it may well be too late for him to save his legacy, whether you consider tonight as horrific or triumphantly crazy, it’s one to remember.

Best track: Click on link below
Babyshambles - 'Albion'


Setlist: Coming Soon

Buy albums here:

Black Rebel Motorcycle Club - 02 Academy, Bristol, Tuesday 27th August

It’s been an eventful 3 years for San Francisco gloom-rock trio BRMC since they last brought their dry ice fuelled glorious scuzzy wall of sound to Bristol.  A band so loud that one of their gigs was cancelled due to fears that the floor would collapse has had to overcome the backstage death of sound engineer/father of bassist Robert Levon Been as well as a curious combination of commercial decline yet critical and creative rejuvenation.  Often typecast as difficult and painfully introverted the band has rebutted lucrative corporate endorsements and stone-walled interviewers throughout their 15 year career.  Live though they’re a committed and powerful force as they mix up a two hour set of fuzzy garage rock, black-hearted blues and beer-spraying apocalyptic punk.  The opening half hour is a breakneck rock assault which can’t possibly be maintained.  From the moody funk of ‘Hate The Taste’ through neon-acoustic piledriver ‘Beat The Devil’s Tattoo’ the crowd fervently jostle and a vociferous pit forms. 

 

Guitarist Pete Hayes, all sideburns and oily hair looks like a bad-ass biker on the right sharing vocal duties between lighting up.  Early track ‘Ain’t No Easy Way’ has him at his snarling best on a retro barnstormer that would sit well on a Young Guns soundtrack.  Alongside him Robert Levon Been with Morrissey coiffeur and black leather jacket strums a battered hollow bass giving the band their trademark aggressive bone-shakingly distorted boom sound; later track ‘Stop’ proving his best moment as the place goes berserk.  What follows though is a lengthy mid-set lull as ill-advised acoustic turns from Robert then Pete are drowned out by audience chatter.  ‘Lullaby’ seems to take an age to get going due to perfectionist loop pedal tinkering but they pull it off in what is the closest to a heartfelt ballad as BRMC offer.

‘Specter At The Feast,’ their seventh studio album was a largely cathartic project for Been and his father’s biggest hit whilst with The Call; ‘Let The Day Begin’ is a suitably raucous but poignant cover that is widely appreciated.  Also on new brooding ethereal anthem ‘Returning’ Been again pays tribute as the event still clearly weighs heavy on his mind “I will follow you till we all return, till we know our souls survived.”  Behind the noisy boys ex-Raveonettes and relatively newbie drummer Leah Shapiro keeps a steady beat impressing in particular on the ferocious ‘Rival’ with some military spattering and handy fills. 

Thunderous anthems ‘Whatever Happened To My Rock And Roll’ and ‘Spread Your Love’ incite some cheeky crowdsurfing much to the anger of heavy-handed security bulldogs who quickly bundle them out.  Ending with ‘Sell It’ we’re reminded of what the band does best.  It’s dark, dirty and bordering on evil in places as blood-curdling bass and wild early Verve guitar thrashing make it a moody enjoyable mess with Hayes screaming “Get it, I got it on the run, sell it.”  Its top stuff and a ballsy way to end for an overlooked rock band still going strong where their peers have long since burned out.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-b/21035-black-rebel-motorcycle-club

Best Track: Click On Link Below
BRMC - 'Stop'

Setlist:

1. Hate The Taste
2. Beat The Devil's Tattoo
3. Let The Day Begin
4. Rival
5. Ain't No Easy Way
6. Berlin
7. Screaming Gun
8. Returning
9. Conscience Killer
10. Shade Of Blue
11. Weight Of The World
12. Stop
13. Funny Games
14. The Line (Robert acoustic)
15. Some Kind Of Ghost (Peter acoustic)
16. Fire Walker
17. Lullaby
18. Whatever Happened To My Rock & Roll
19. Spread Your Love
20. Six Barrel Shotgun
21. Sell It

Albums available here:

Scott James & The Revolution / Sam Eason - Sunday July 21st, The Louisiana

A sizzling summer’s night showcase of singer/songwriting talent at the Louie tonight as Gloucestershire’s upwardly mobile young rap/soul/folk band Scott James and The Revolution mesmerise a packed crowd. 

Main support is the unassuming, bespectacled and bushy-bearded Bath singer Sam Eason, well-known for his earnest performances and endearing audience banter.  ‘Apologetically not Ed Sheeran’ he takes us on an enjoyable and mostly upbeat ride with some uncomplicated but terrifically effective melodies and a whole lot of loved-up fuzziness.  Midway through the set he’s joined by wife Beth and the pair unleash some devastating harmonies on ‘Across The Sky’ and ‘Our Last Song.’  Clearly she’s a main inspiration behind his writing but the likeable school teacher sounds far from contrived as he gets the crowd shifting on the poppy brilliance of ‘Cliches’ with “there really are no words for this Disney romance, that won’t make you sick to your lungs.”  The standout track is ‘Turn On Your Heels’ which we’re told was a warning to a girlfriend about a good for nothing scoundrel.  Eason shows real potential as he layers 2 or 3 different sequences and knuckle rapping via loop pedal, folk giving way to indie/rock; a less indulgent/more urgent Damien Rice which hares along and captivates the crowd.  Great stuff and one to watch.

Tonight’s headliner have somehow fused rap, hip-hop, soul and folk together to create thought provoking often politically charged tracks straight outta, yep you guessed it; Cheltenham.  Having released their debut EP in March (‘The Acoustic Sessions”) the group has gone on to perform at festivals nationwide as well as winning a main stage slot at Beach Break in Newquay.  Perhaps eyeing the commercial success of Plan B in his musical versatility, the fledgling quartet has created a buzz from drawing upon their individual influences to form their own inimitable sound.  Frontman Scott James spits in a slightly faux-American style which isn’t always entirely convincing but there’s no denying his impressive writing talent and live delivery.  On early track ‘Mama Don’t Worry’ there’s a hint of a checkered past in his poignant lyrics that helps to move them from Just Jack and into Eminem/Nas territory, solidifying that all important credibility. 

In Sophie Cotterell they have the pop credentials and eye candy to dent the charts, on ‘Read All About It’ she shows that she has a formidable voice and when married with the harsh street vocals of James it’s clear they’ve got something unique.  Multi-talented James Armah (guitar, vocals and cajon) threatens to steal the show on cajon, a powerful backbone to their sound and an instrument that the band could utilize more often.  Fugees cover ‘Ready Or Not’ is well received, Cotterell’s voice again soaring as Scott James takes the helm for the tricky Lauryn Hill rapping as the band make it their own.  Final track ‘A New Republic’ is one of many calling on the government for change; it makes for an interesting listen from a band that have much to say and surely the creativity and class to catch the attentions of the masses.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-s/20955-scott-james-and-the-revolution--sam-eason-

Best tracks: Click on links below

Sam Eason - 'Turn On Your Heels'

Scott James & The Revolution - 'A New Republic'

Warm Soda, The Louisiana, Tues 16th July

Californian punk-pop quartet Warm Soda are anything but flat tonight as they begin their first UK mini-tour at the Louie.  A fizzing 50 minute set from tonight’s headliner is watched by a fairly meagre but lively crowd, owing in no small way to the sweltering stubbornness of the current heatwave drawing fans away to nearby beer gardens and riverside railings.  The super-skinny group mix the 70’s glam power-pop of T-Rex with the punchy 2D post-punk of The Jam to create a bubble-gum version of ‘This Is It’ era Strokes.
 

Front-man Matthew Melton has a touch of Phil Lynott about him with curly hair and suspect tache as he wields his intriguing Ovation Breadwinner.  The charismatic singer wasn’t without a band for long following an acrimonious split from previous group Bare Wires after last years SXSW tour; his ear for an infectious pop hook certainly appears to be undiminished.  Debut album ‘Someone For You’ was released in March with enough syrupy pop to rot a good set of gnashers.  A different proposition live, Warm Soda stir in a couple of shots of Jaeger to give their sound an aggro/punchy kick away from the squeaky clean production and one dimensional foot-stomping.

Things get a little weird early on during lightweight radio hit ‘Jeannie Loves Pop’ as some youthful audience exuberance sees a clutch of shirts streaming onto the stage.  Guitarist Rob Good (a spit of 70’s era George Best) sports a bewildered look as he begins the rather futile clear up duty.  Good and Melton are clearly the driving force behind the band, the former laying down some tight jagged licks that sit up nicely for the latter’s heavily echoed and sometimes indecipherable Bolan-esque whispers.  Staying just the right side of vom-inducing tweeness; early track ‘Busy Lizzy’ has enough bite to move it towards lo-fi garage rock, leather jackets and bar brawls.  Although at times repetitious it is great fun to watch and the heady mix of poppy innocence and fuzzy buzz-saw riffs could wreak havoc on a packed-out sweaty Friday night.

‘Waiting For Your Call,’ one of many to show a tale of youthful romantic longing and heartbreak proves a standout with the killer chorus that Julian Casablancas seems to have recently mislaid.  EP track ‘Reaction’ is unashamedly glamtastic with a bouncing bass and distorted picking that builds to a balls-out thumping chorus with Melton fully engaged with the girls in the front-row calling “don’t you want a reaction, yes I think so.”  The group finishes off proceedings with a conspicuous sugar-free jam that smashes the 2 minute barrier, in fact almost topping 15 minutes with some blazing riffage and herculean skins pounding seldom heard earlier on.  It's a curious finale that's unrecognisable to the rest of the set and points towards the possibility of a fuller stadium rock direction.  In all though it’s a promising UK debut and with a swelling of approval creeping over from across the pond you would expect that good times lie ahead for the trendy throwbacks.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-w/20938-warm-soda

Best Track: Click on link below:
Warm Soda - 'Waiting For Your Call'

Album available here:

Evacuees - The Louisiana, Friday 21st June

Bath based indie rock quartet Evacuees show tonight that melancholic anthems created by the once heralded 6 string instrument still have their place as they light up the Louie with the launch of their encouraging second EP.  After forming just 2 years ago the Evacuees have fought their way up the bill across the city thanks to support slots for Amplifier, Ultrasound and We Are Augustines and a well-received set at this year’s Dot-To-Dot festival. 

 

(Picture courtesy of Jackie Ong)

 

In sharp contrast to the twee radio-folk ballady balls that passes for rock music on our airwaves there are a couple of fast improving alternative bands coming through who are causing a real stir on the Bristol circuit at the moment.  Our headliner tonight is leading this local charge and with influences stretching from Nirvana, QOTSA, Thrice, Brand New and Radiohead they have a wide pallet of angsty genius to draw upon and the new EP has a more assured feel as they begin to find their sound.  The Evacuees’ imposing front-man Dean Bryant haunches over the mic like a devilish hyena, all in black, looking sufficiently sinister as he bears down on the audience.  But it’s an anti-climatic acoustic start to proceedings as the band suffers sound issues that clearly frustrate them.  The exasperated frontman waves his hands in disgust throughout the early stages –with a vocal range like his it’s not a great idea to make him angry.  Alex Grassi’s band A Life In Orange who went down as an entertaining support (thanks in no small part to their sensational drummer) lend Bryant a guitar and the band regroup and begin again.



Tonight’s set has a decent mix of edgy acoustic lo-fi and hurtling early-Radiohead anthems with a post-grunge feel.  Joe Daly’s chugging bass kicks off brooding beauty ‘Grounded’ alongside hypnotic Greenwood-esque guitar weavings before Bryant launches himself, neck sinews bulging into a Lemmy style blitz as he bellows “stand on the feet by which you’re blessed, don’t be counted among the rest.”  It’s a good marker for what follows as the band quickly make up lost ground and win over the punters.  Early Verve jamming next up on the upbeat bluesy ‘Miss Guided’ with a stirring scuzziness that has the audience hooked.  Metronomic drumming and a meandering bass create a less claustrophobic hook than before allowing the band to soar with some solid harmonies and a stadium bound chorus. 

 

Penultimate track ‘Da Vinci’ begins with bittersweet and fragile chimes with a soft husky vocal but quickly ascends into a belting chorus that leaves nothing left in the tank.  Definitely their best and most creative track it casts aside any doubts over the band’s ability to be original and reveals some promising shoots of songwriting potential.  New track ‘Delorean’ ends the night; a weighty slab of brooding granite with Bryant’s trademark throaty vocal howling “88 miles an hour couldn’t bring you back down.” The Evacuees owe a lot to the past but tonight’s set shows they’re only looking forward and not back to the future.

 

 

Kindly published by Venue:

http://www.venue.co.uk/music-live-reviews-e/20816-evacuees

 

Best Track: click through link below
Evacuees - 'Da Vinci'

Setlist:

1. The Briny
2. Papercut
3. Grounded
4. Clandestine
5. Rusted
6. Temper Temper
7. Miss Guided
8. Fight The Light
9. Da Vinci
10. Delorean

Poor Old Dogs - Beeses Tea Bar, Friday 7th June

Folk music can often be a bit on the dull side.  Earnest performers plugging along onstage backed by a polite violin in front of a placid crowd that offer little more than the odd nod or foot-tap.  Take a group of mates therefore who play for beer and a laugh with stomping songs about unscrupulous estate agents, nuisance neighbours and flasher milkmen and it’s hard not to taken in by their contagious enthusiasm for performing and mission to make audiences smile.

Bristol’s Poor Old Dogs arrive at Beeses fantastic riverside bar after a hectic gigging schedule in support of cracking second EP ‘Milkman’.  This mischievious band are led by charismatic frontman Jack Francis who appears on stage with flat-cap and dangling earring, a hint of Levellers ‘crusty’ and an unsettling/menacing Lydon-like stare.  Splitting their set into two, the first much less frantic, the quartet bring the crowd in from the garden with an upbeat cover of Richard Thompson’s masterpiece ‘Beeswing’.  ‘Betty Got My Coat Nicked’ has the locals grinning, she stole his Harris Tweed don’t you know? but now “she can bugger off, at least subconsciously.”  Jangling guitars meet a committed but off-key vocal to devastating effect. 

For the most part it’s wonderfully shambolic and perfect Friday night fare for those in search of high-octane hoe-downs.  The laugh-out-loud humour and quirky tales within the band’s growing catalogue shouldn’t distract from the fact that these guys are actually highly accomplished musicians.  Rory Smith effortlessly switches between bass and double-bass, driving the band on and keeping up well with the frantic pace.  Likewise, diminuitive Mandolin thrasher Laurie Cornwall is a dynamo throughout and a standout on punky ode to odd-bods ‘Designated Weirdo’.  Whenever they sail back into ‘conventional’ folk they show their versatility and knowledge of the genre’s chief protagonists with some well selected covers that keep the crowd transfixed.  A meaty ‘Folsom Prison Blues’ gets a hearty ovation, the band are pretty tight and clearly loving every minute.  Other highlights include ‘Immoral in Balmoral’ –a Dexy’s style amusing jaunt that asks “Can’t we just be friends, like the friends off Friends?”  Moving on and ‘Sick Of The Sight Of Your Face’ is furious fun as the enigmatic singer attacks his ex in good humour “your voice makes my skin crawl”. 

Saving the best until last, the band’s hilarious ‘Milkman’ is a massive hit that sees the audience deserting their pints for one final knees-up in what is surely the best ever song about the art of dairy delivery (sorry Ernie/Benny Hill).  In this instance however, we’re dealing with a man who likes to “feel the morning breeze blowing his bits about.”  With a keen beat, speedy strumming and a laddish chorus of “who’s the fucking milkman, he said I’m the fucking milkman” it’s not exactly profound but its undoubtedly entertaining stuff.  The Poor Old Dogs maybe completely barking but if you’re about in town and a big fan of folk with played with ferocity and fun then get over to see them.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-p/20753-poor-old-dogs

Best Track: Click on link below
Poor Old Dogs - 'Sick Of The Sight Of Your Face'

Available to buy:
http://poorolddogs.co.uk/music/

Lord Huron - Thekla, Friday 17th May

US country rock quintet Lord Huron bring a densely layered soundscape of complex rhythms, killer hooks and a wagonful of wacky instruments to the lively Thekla tonight.  Originally from Lake Huron in Michigan and now residing in Los Angeles, they’re the brainchild of multi-talented art/design graduate frontman Ben Schneider.  The much-travelled bearded singer has assembled a group made up of childhood friends who are taking their homeland by storm with their fusion of mid-west country desert alt-rock with a Graceland Afro-Pop twist.  Debut album ‘Lonesome Dreams’ (released in January) has been a long time in the making but hasn’t disappointed after the success of the ‘Mighty’ EP which introduced fans and critics to their dreamy folk from the frontier and choral cathedral harmonies with a driving groove.

The band overcome early sound issues and from the start more and more objects seem to arrive to clutter the stage, most of which surround Moby lookalike percussionist Mark Barry who appears imprisoned at the back of the stage.  Opener ‘Ends Of The Earth’ like many tonight opens with a wall of atmospheric noise with mystical wind chimes, birdsong and hint of thunderstorm accompanied by some earnest cowboy coo-ing.  Compared to Fleet Foxes but with more urgency, the rootsy folk also draws upon the Americana feel of CSN&Y with 4 part harmonies and sweeping production.  Adorned in a white Stetson, Schneider has two microphones in front of him suggesting some possible effects-laden foul play but in truth there’s so much activity going on throughout each tune that the vocal quest for perfection falls into the background.

‘She Lit A Fire’ sails into David Gray territory but not in a bad way and ‘The Man Who Lives Forever’ brings out the pots and pans once again, Barry hits the drums with maracas in one hand, tambourine in the other, Schneider shakes what appears to be a clutch of Christmas baubles whilst captivating the audience with more soulful yearning “Said that death is a deal that you cannot refuse, but I love you girl and I don't wanna lose you.”  There’s not much in the way of interaction tonight other than a quip about the band lifting the Thekla’s anchor and the venue drifting out to sea, no bother because the audience are far away with them on a dusty wind in the Arizona desert. 

Show-stealing percussionist Barry adopts a bamboo waistcoast which he strokes in time to bassy ukulele for crowd favourite ‘Time To Run.’  With its chiming, beautifully simple melodic guitars meeting shamanistic percussion and a slick REO Speedwagon vocal it gallops along like a Mustang horse across the prairie.  Another track brim-filled with the customary contagious calypso rhythm is the warm and fuzzy ‘Lonesome Dreams’ which suffers from a frustrating mid-song break but soars back strongly as the singer passionately pelts the rim of a drum to his left.  Later this year the band could threaten to upstage Mercury masters Alt-J who they will support on their US tour and there’s no doubt that their live show is an unmissable event.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-l/20664-lord-huron

Best Track: Click on link below
Lord Huron - 'Time To Run'

Album available through links below:

Bite The Buffalo - Grillstock, Saturday 11th May

Beefy blues-fuelled fuzz is high on the menu today as aptly named Bite The Buffalo provide the perfect soundtrack to a day of rib-munching and ale guzzling at Grillstock, Bristol’s premier Deep South barbecue fest.

Bearded Bath based brothers Stos and Dimitri Goneos arrive following the end of a full tour of the US and a slot at the SXSW festival in support of impressive debut ‘Blue Lips.’  Originally from the Copperbelt in Zambia the two bromigo’s regard Robert Johnson, Lead Belly and Muddy Waters as key influences on their brand of snarling stomping 70’s rock.  Recorded in a lighthouse in Dorset, the album is an explosive, scuzzy homage to Americana that’s much more authentic than The Black Keys and they’re the band that everyone seems to be talking about in the queues for hot dogs and spicy wings. 

Named after a Zambian drinking game that would surely consist of a healthy dose of Tennessee whiskey Stos (lead vocals, guitar) and Miti (vocals, drums) are soon onto the tiny tented stage creating joyous havoc in front of a soggy but high spirited crowd.  ‘Tell Me What The Dead Folk Know’ is a hillbilly rock’n’roll hoe-down that has Stos reeling off music’s departed icons howling as he goes.  The result of which has the tent violently shaking and it’s hard to believe that the noise from within is only being made by two people. 

The sharply dressed singer is performing step aerobics as he turns effects pedals on and off throughout whilst Miti (who is a spit of Zach Galifianakis), with tongue hanging out for the most part, wildly thrashes the drums.  A top-notch cover of Lead Belly’s ‘Where Did You Sleep Last Night’ is the only non-blues effort in the set whose highlight’s include the hurtling White Stripes like ‘My Gun’ and Eels sounding ‘Cherry Window Blues.’  Playing pretty much the entire album, most tunes end in a similar balls-out bloated jam as Stos’ squeezes every last inch of noise out of his Hofner.  It can get a bit repetitive in places and the duo’s impressive vocal range is subjected to a slightly irking and unnecessary glossy metallic effect towards the end.  It is a minor aberration though and doesn’t spoil album title-track ‘Blue Lips’ which has a hypnotic surf-slacker feel that gets the crowd shifting.

“Facial hair is the main inspiration to this band’ claims Miti as he bemoans the lack of recent lip hair of the Kings Of Leon before a furious cover of ‘Molly’s Chambers’.  Things even get a bit lightheartedly sleazy as two bellydancers gyrate away atop picnic tables much to the Buffalo’s approval.  The repertoire is definitely stretched as they go way over curfew, the fans happily plying them with beer to keep them on stage longer.  Tonight’s slick performance reflects a strong momentum for a band that has every chance of success and if you’re pining for a good ‘ol chunky slice of bluesy-rock then you better get out and see them before you get caught up in the stampede.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-g/20605-grillstock-bite-the-buffalo

Best track: Click on link below
Bite The Buffalo - Tell Me What The Dead Folk Know

Buy album here:

The Wedding Present - The Fleece, Friday 3rd May

Way back in 1992, British guitar music was going through a dark age.  Grunge and gawdy euro-pop had usurped the baggy scene and a bruising recession had bankrupted Rough Trade and many other prominent indie champions.  Before Suede’s debut album and the early stirrings of Brit-pop, Leeds band The Wedding Present were about to secure an impressive record once held by Elvis of securing 12 consecutive top 40 hits in a year.  This was a fairly typical move from a band that seemed to have always done things on their own terms.  Initially rejecting the advances of major labels to retain creative control and shunning the limelight in favour of gratifying their adoring fanbase they were able to create two bona fide low-fi classics in debut album ‘George Best’ and ‘Seamonsters’. 

A sell-out crowd greets evergreen front-man David Gedge and co as they kick off with punk-pop pleaser ‘Yeah Yeah Yeah Yeah Yeah’.  Shuffling drums and brooding bass are tethered by stoic guitars throughout the early tracks and without much of a change in tempo it can all sound a little one-dimensional until you account for Gedge’s well-crafted bittersweet lyrics of jealousy, love-turned-sour and loss.  In a Smith’s-like fashion it’s often fairly downbeat content delivered in a triumphant way and the audience are enjoying every minute.

With no fewer than 18 different line-ups for a career that has so far only spanned 8 albums it’s no surprise that on-stage chemistry and banter is fairly non-existent throughout the 90 minute set.  New bassist Katherine Wallinger is almost catatonic throughout tonight’s set, new to the line-up she looks like she’d rather be anywhere else than alongside the living legend to her right.  It doesn’t seem to matter though as Gedge has more than enough charisma for the whole group, passionately gesticulating with eyes firmly shut he looks like he’s trying to strangle someone.  Bounding around the stage isn’t really his style but he’s able to hold the crowd well throughout what is a greatest hits set with most albums fairly represented.



The only new song tonight is ‘Two Bridges’ which stands up pretty well alongside the tried and tested but there’s nothing to suggest a new sound or direction.  The real melancholic essence of the band comes through on mid-weight tunes like ‘Give My Love To Kevin’ and the superb ‘My Favourite Dress’ which sees Gedge at his most resigned as he laments "a stranger's hand on my favourite dress."  The sonic thrust of ‘Dalliance’ is still as powerful ever with the guitar thrashing overload reminiscent of a 747 leaving the runway.  Starting innocuously enough it sounds anything but an anthem but it’s the one everyone is calling for as Gedge’s husky drawl moves through the gears to a frantic finish lapped up joyously by a gang of fat-headed builders at the front. 

Perhaps they never got the credit they deserved commercially but their influence as legends of British indie will always be celebrated by their adoring fans and they’re still a great draw live.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-w/20571-the-wedding-present-

Best Track:
The Wedding Present - 'Dalliance'

Setlist: To follow

Best albums available here:

The Chase / Flamenco Thief - The Thunderbolt, Saturday 20th April

It was going to take something special to sell out the fantastic Thunderbolt bar in Totterdown tonight as the ‘Hit The Deck Festival’ –Bristol’s multi-venue version of SXSW dominates the weekend listings. A brave move you might think therefore for an EP launch then but emerging local based pop/rock band The Chase seem to take it all in their stride.

(Picture courtesy of Richard Oxford www.richardoxford.co.uk)

Opening for them tonight is incredible one man band Flamenco Thief aka Craig Sutton. After a staggering 110 gigs last year, there’s a real buzz around the part-time postie from Bath bolstered by recent support from NME. Soon heading off around Europe, the unassuming virtuoso turns his guitar into a bongo drum, knuckle-rapping with even more rapidity than Gabriela Quintero. This is possibly the most original 30 minutes of guitar playing you’re likely to hear this year. There’s some impressive Segovia style picking on ’92 Chemicals’ a track that showcases the percussive rhythms that has the audience whooping with approval. Nothing has been thieved on mind-boggling ‘Mad Cow Stomp’ which quite literally has to be seen to be believed. The Boss rc300 loop pedal creates layer upon layer of hypnotic melody and metronomic hip-hop beats that really have no right to work. Real quality.

On to our headliner and Bristol quartet The Chase who arrive off the back of some rave reviews after recent support slots for the reformed Space and awesome Dizraeli and The Small Gods.  Promoting their diverse new EP ‘Pudding Pie Lane’ –their 2^nd in their near 2 year existence so far, the group’s crowd-pleasing blend of funk, pop, rock and soul is set to earn them a residency at one of the city’s leading venues.  Frontman Tom Pepper, heavily coiffeured and adorning a dapper grey waistcoat bounces around the pokey stage, clearly enjoying every minute.  Pepper spices things up (sorry) on best track ‘Bigger Things’, vocally, Johnny Borrell (Razorlight) meets Adam Levine (Maroon 5) boosted by some uncompromising pounding from the exceptional Duke Grooves.  There’s definitely a post-‘By The Way’ RHCP feel to some of the middle tracks with a quasi-funk that’s unashamedly accessible and lapped up by the lively crowd. 

 

Barenaked Ladies cover ‘One Week’ is somehow sped up with an added bite making it more than a testing karaoke interlude.  Slowing it down for two acoustic tracks we’re told to either go for a smoke or head to the bar and Pepper’s Dad does just that fighting his way back to the front to deliver a shot to his son.  It’s a fair reward for some committed soulful crooning on ‘Drawn To You’ that does anything but part the audience, instead hinting at some burgeoning songwriting talent.  Imagine Anthony Kiedis on the Scissor Sisters’ ‘Take Your Mama Out’ for the insanely catchy ‘Trying To Say,’ a track that has Hit written all over it.  So The Chase for success is on for the Bristol boys and after a rapturous response tonight and another promising EP in the bank they might just make it to the big time.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-c/20483-the-chase--flamenco-thief-

Best Tracks:

The Chase - Bigger Things
Flamenco Thief - Mad Cow Stomp

On Sale: Click on link below

The Beat - Friday 12th April, The Fleece

 It’s 33 years since the release of the debut album by Birmingham ska legends The Beat that spawned much-loved anti-Thatcher song ‘Whine & Grine/Stand Down Margaret.’ And tonight the calypso classic is greeted by a bouncing capacity crowd with real vitriol as it kicks off a blinding set of reggae fused 2-tone skanking. 

Whatever your view on Maggie and her legacy it’s hard to ignore the ironic air of celebration throughout the packed Fleece audience tonight. Ripped dreaded toaster Ranking Roger skips onto the stage clutching his mobile and unleashes some fairly damning pre-prepared thoughts on the late PM and her destruction of communities. The Beat were a major force within the late 70’s/early 80’s ska scene, their music inspired by political and socio-economic upheaval in a time of strikes, riots and chronic unemployment. Thatcher’s reforms and their effect on society was always likely to be at odds with the bands message of ‘peace, love and unity’ and as Ranking Roger finishes his diatribe by declaring it as one of the greatest weeks of his life, it’s obvious that there’s still no love lost.

 

The Beat are a tight live proposition even in their advancing years.  Ranking Roger’s son, Ranking Junior aka Mini Murphy stands alongside his father giving the group a contemporary boost with some impressive rapid freestyling.  The lively rapper gives the old classics an extra dimension and he’s able to work the audience as well as his evergreen old man.  ‘Rock The Casbah’ would surely get Strummer’s blessing for keeping the diverse crowd of skinheads, students and middle-aged mothers jovially jumping like its 1982.  Working through an impressive back catalogue of lilting Jamaican ska that takes in the contagiously catchy ‘Hands Off She’s Mine’ and the incendiary delight that is punky Jam-style ‘Click Click.’  Ranking Roger encourages more celebrations of the iron lady’s demise on ‘Jackpot’ instigating a chant of ‘Hip hip hooray’ and the crowd are more than happy to oblige. 
 

Everett Morton stands out on Smokey Robinson cover ‘Tears Of A Clown’ the man most responsible for bringing the band’s reggae style with his uniquely fascinating polyrhythmic drumming.  ‘Ranking Full Stop’ has father and son working seamlessly in heartwarming tandem, full of energy creating those infectious dance rhythms.  Roger happy to let Junior take the spotlight with an improv showcase of fast rapping with Dad faithfully joining in on drums.  ‘Mirror In The Bathroom’ is majestic; extended to include a superlative dub/ragga middle eight, more great freestyling from Ranking Junior and some silky sax from newbie Simeon Murray.  High-fiving the boisterous audience to end the gig it certainly feels like both band and crowd have shared something special.  With a new lease of life live and a formidable bundle of classics to pick from, there’s no doubt that they’ll be winning new fans and continuing to supply the soundtrack to many more Friday nights to come.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-b/20461-the-beat

Best Track: Click on link below
The Beat - "Mirror In The Bathroom"


Setlist: TBC

Albums available:

The Eels - Friday 29th March - O2 Academy

Mark ‘E’ Everett is one of the funniest front-men in rock.  The wizened singer/songwriter joins the latest incarnation of one time Brit Award winners The Eels to the stage, adorned in a band uniform of black Adidas tracksuits, flat caps and aviator shades for a set that’s certainly high on entertainment although frustratingly assembled. 

It’s a rather static sell-out audience at the O2 as they tour their 10^th studio album ‘Wonderful Glorious.’  With a four-pronged guitar assault and all-action drummer Knuckles set up in an unusual front left position things look ominous for those expecting E’s moving cathartic cocktail of death and loss.  Live, the Eels have often irked die-hard followers with their tendency to ‘beef up’ their back catalogue, sometimes bypassing the well-loved mid-paced songs inspired from the tragic deaths of E’s parents and sister for a weighty slab of stodgy rock.  That aside the current tour is every bit as bonkers as the last one which spawned the epic desire, loss and redemption album trilogy and saw E dressed in a white jumpsuit giving out ice-creams to the front row.

The jutting mangled opening guitar from Honest Al compliments the familiar husky vocals well on ‘Bombs Away’, a solid start to an underwhelming/sluggish early trio of new material.  A well-received cover of Fleetwood Mac blues classic ‘Oh Well’ revives the crowd, the ending of which sees chaotic guitar contests met with some fervent audience head bopping.  ‘Tremendous Dynamite’ is a joyous two dimensional scuzzfest that sees the charismatic E at his throat-scratching best.  Into the middle of the set and there’s more bro-hugging and genuinely funny banter orchestrated by the razor-witted hairy ringmaster.  ‘New Alphabet’ has a Beck style funk that seamlessly fits the biographical update, E revelling in his new positive outlook on life “You know what? I’m in a good mood today, well I’m so happy it’s not yesterday, man it was brutal, but it’s all in the past, it’s good to know that it don’t have to last.”  Glad to hear it.

There’s a rather bizarre/hilarious (you decide) renewal of rock vows between E and legendary picker Chet Atkins’ talented grandson (The Chet), the acting certainly less hammy than certain BBC dramas of late as Knuckles parodies ‘Wind Beneath My Wings’.  The superbly executed mash-up of ‘My Beloved Monster’ and ‘Mr E’s Beautiful Blues’ is a definite highlight.  Flicking effortlessly between each track to ‘fool the curfew’ the crowd is well rewarded for enduring a night of mostly new material and a distinct lack of ‘hits’.  Into the second encore and the sumptuously moody ‘Fresh Blood’ has E werewolf howling to seemingly end proceedings as the house lights go up.  The band though has other ideas as they kick of a third encore and a rather dull ‘Dog Faced Boy’ is counter-balanced by some enjoyable jamming for the dedicated remnants.  Live at least the Eels are becoming a formidable rock band; to those who persevere with their studio journey though there really is so much more to them than that.

Kindly published by Venue:
http://www.venue.co.uk/music-live-reviews-e/20424-eels

Best Track: Click on link below
Eels - Prizefighter

Setlist:

1.  Bombs Away
2.  Kinda Fuzzy
3.  Open My Present
4.  Oh Well (Fleetwood Mac cover)
5.  Tremendous Dynamite
6.  In My Dreams
7.  On the Ropes
8.  Peach Blossom
9.  Prizefighter
10. The Turnaround
11. New Alphabet
12. Fresh Feeling
13. The Sound of Fear (Introducing the band/Renewing E's Rock Vows)
14. Wind Beneath My Wings (Bette Midler cover)
15. Go Knuckles!
16. Itchycoo Park (Small Faces cover)
17. Souljacker, Part I
18. Wonderful, Glorious

Encore:
19. I'm Your Brave Little Soldier
20. My Beloved Monster / Mr. E's Beautiful Blues

Encore 2:
21. Fresh Blood

Encore 3:
22. Dog Faced Boy
23. Go EELS! (Go Knuckles Reprise)