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)

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