Jimi Goodwin - Sunday 18th May, Thekla

“I’m not doing Doves stuff anymore, I’m doing Odludek now” the rattled former indie-band frontman calls with odd Russian accent as his arms mimic robotic movements.  Jimi Goodwin, now 45, cuts a northern Oliver Reed as he clutches his huge bass on his first solo UK tour, 5 years after his previous visit to Bristol and after which the Manchester band went on a ‘permanent hiatus.’

Debut release ‘Odludek’ is apparently Polish for loner or pilgrim which Goodwin felt suited the new project and chapter in his career.  The album itself is an eclectic mix of mid-paced indie-rock (a la Doves) with elements of country, electronica, keyboard led Elbow offcuts and an unwelcome splash of early 90’s Euro-dance (a nod to those days in Sub Sub).  From the start, comfortable as ever in front of the crowd, he raises his pint saluting all corners and balconies aboard the Thekla and kicks off with dramatic key-stabs of ‘Terracotta Warrior.’  Unshackled and on a voyage of discovery, lyrically the track is indicative of the rest of the album as Goodwin bellows out “I know who you are but who am I?”  There’s something a little more daring about his solo work, more Ian Brown than Morrissey in terms of first efforts and its all the better for it.  ‘Oh Whiskey’ is an understated yet still anthemic cut of country acoustic-rock quality, midway through it ascends a level and somehow has everyone dancing.  Doves rouser ‘Snowden’ maintains the momentum and reminds us of the real power of Goodwin’s range and how good the band really were at their peak.  “It’s time for a gameshow!” he jests when the bewildering muzak of ‘Man v Dingo’ begins to his own obvious embarrassment as he makes the sign of a cross, I don’t think this one will be on the next tour.

The growling singer appears slightly irked when there’s no attempt to echo lyrics back on ‘Panic Tree,’ most likely forgetting that the album’s has been out little over a month and its far from the most memorable on there.  The pick of the rest of the new stuff is ‘Lonely At The Drop’, balls-out rock that ends up jamming like ‘Come On’ by The Verve with searing stratospheric guitar.  Doves tracks ‘Last Broadcast’ and ‘Sulphur Man’ go down well, the former sounding funky as ever, the latter utterly enthralling with its brooding verses and big chorus making it a trademark melancholic triumph.  Returning for an encore he seems a little short of ideas and tunes left to play.  The crowd are baying for Doves songs and hailing him with all manner of album-track suggestions, this must have happened at earlier gigs on the tour but it doesn’t sit well with the burly singer.  The aforementioned mini-meltdown threatens to turn the atmosphere before an amusing suggestion to begin the gig again appears to be the compromise.  So off we go again with a second run-through of ‘Terracotta Warrior.’  Half the audience heads for the exit.  Those who stay get a fairly uneventful ‘Northenden’ to finish, a bit of an anti-climax to what was an entertaining first solo foray to Bristol and a genuine expectation that there’s better still to come.

Best Track: Click on link below
Jimi Goodwin - 'Oh! Whiskey'

Kindly published by Bristol 24-7
http://www.bristol247.com/2014/05/23/review-jimi-goodwin-at-thekla-bristol-77523/

The Delays - Weds 7th May, Thekla

Blissfully sun-drenched indie-pop sugary enough to rot your teeth a bit on-board the Thekla tonight for the return of the Delays; a band once declared as most likely heirs to the Stone Roses throne. 

The Southampton quartet are back in Bristol to open a tour to celebrate the 10th anniversary of the release of debut album ‘Faded Seaside Glamour’ which still remains their most celebrated and accomplished piece of work to date. It could be said that the Delays are both ahead of and behind their time. With a heavy nod to The La’s but hitting upon elements of what would become nu-rave (Klaxons etc) and the more recent art-rock scene (Foals et al) they shot to prominence delivering anthemic semi-psychedelic power-pop packing enough punch to worry the Top 30 album chart three times and so nearly with it prolonged mainstream success. With a 5th album on the way after a lengthy break there’s a fair bit of ground to make up but tonight we’re looking back at a time when the Delays had the ears of all with a notebook and pen. Don’t get me wrong, I do totally get why some people don’t like this band -the style can often be formulaic opening tracks with overly cheerful synths and Greg Gilbert’s inimitable falsetto. And with kid brother Aaron on keyboards chipping in with those high-pitched harmonies we get something reminiscent of The Hollies amid jangly Byrds guitar and some often bizarre early Depeche Mode electro-noodling. By that reckoning you’ll either love it or hate it - judging from the vociferous turnout who are hollering back at the band with hands clapping aloft here tonight, it’s looking like absence has made the heart grow still fonder.

Running in the order on their debut we get a vibrant opener with ‘Wanderlust’ its tropical ice-cream van keys giving way to Greg Gilbert’s dizzying vocals backed by the splashing of drums.  As the gig develops its hard to remember a band that look like they’re enjoying themselves so much.  Blonde-mopped Gilbert flips from choirboy to wannabe rock god throughout ‘Nearer Than Heaven’, probably the group’s best known hit which has a real timelessness. ‘Long Time Coming’ completes a triumphant trio that has so far seen the crowd singing, dancing and the odd good-natured though rather witless heckle.  It’s not to say they can’t rock out (‘Stay Where You Are’) or even hit on some nu-rave (‘On’ and ‘Lost In A Melody’) but they sound at their most convincing on tracks like ‘Hideaway’ and ‘Satellites Lost’ where gimmicky effects are sidelined by a trademark arrangement of twinkling guitars and luscious harmonies that no other group is brave enough to do in these hipster-led times.

Encore ‘You And Me’ is pacy and string-laden evoking front-of-stage jerking and those unusually smooth turning to strained vocals.  It’s not going to be blaring out of any boy-racer windows anytime soon but the Delays have never been ashamed of writing heartfelt indie-pop, they’re fearlessly chasing top spot unattached from a scene and clearly rejuvenated.  


Best Track: Click on link below
The Delays - 'Long Time Coming'

Kindly published by Bristol 24-7
http://www.bristol247.com/2014/05/15/review-delays-thekla-bristol-16331/

Yes Sir Boss - Fleece, Thursday 3rd April

There’s something about adopted Bristolians Yes Sir Boss that just oozes fun.  Matt Sellors’ gang knows how to work a crowd and arrive well-armed with trumpet, sax, melodicas, what looks like a child’s xylophone and some outrageously catchy tunes.  Opening their UK tour at a busy Fleece with the launch of second album ‘King In A Rocking Chair,’ the quintet have now added the sound of the mid-west to their ever-expanding tally of genres.  Inspired by Bristol favourites Babyhead, the group has amassed a loyal following drawn in by their energetic live shows that somehow manage to blend elements of ska, indie, reggae, swing jazz, blues and pop without making a huge mess.

Signed to Stoned Records, the label created by fellow Devon-bred Joss Stone, has worked out well for the band and a more than decent duet with the marmite singer on their debut has helped them reach into a wider mainstream audience.  Since then they’ve played Glastonbury, performed sessions on Radio One and toured Europe honing their versatile craft.  Tonight they kick off with the bouncy ‘Buy It Up’ –an amusing attack on over the counter culture “you got no personality so you get your tits out on TV, but those things are like Zepellins ready to explode in the jet stream.”  Moving on and the new bluesy stuff comes to the fore with the quiet cowboy lilt of ‘Feel The Love’ and Sellors gravelly vocals just about win over the noisy chatter from those just here to skank. 

The shift from ska to blues doesn’t seem to have lost them too much of their appeal though and any hint of a mid-set lull is quickly dispelled with a near-perfect version of Pulp Fiction soundtrack classic ‘Misirlou’ which brings the house down with Sellors fingers working over-time and First’s blazing trumpet leaving everyone beaming.  “Not Guilty” holds within it a lyrical reference to the bands name and with a political overtone shows that its not just about meshing together whatever they can find in the music cupboard.  The horns take centre stage on the reggae-tinged track which somehow moves from a rasping Cuban trumpet solo to a throbbing RHCP funk/rock salvo.

“Is everyone up for something really filthy?” cries Sellors as the band lurch into standout track ‘Dirty Grave’ with signature mischievous horns and what sounds like the thumping bassline borrowed from ‘Eye Of The Tiger.’  This is the band at their best whipping up bluesy grooves that get the crowd moving amid Sellors’ whiskey-ravaged, menacing deep-south vocal; filthy indeed.  A few skanks later and we’re nearing the end as drummer Reuben heads around the back of the bar, clearly shattered, only to be hauled back for a curfew smashing second encore which sees a cheeky oik invades the stage to instigate one last venue-wide boogie.  And so concludes a thoroughly enjoyable musical taster menu from one of the cities best who are sure to cement their reputation this summer as firm festival favourites.

Best track: Click on link below
Yes Sir Boss - 'Dirty Grave'

Buy albums here:
Yes Sir Boss - 'King In A Rocking Chair'
Yes Sir Boss - 'Desperation State'

Kindly published by Bristol 24-7
http://www.bristol247.com/2014/04/09/review-yes-sir-boss-fleece-bristol-62831/

Lonely Tourist - Stag & Hounds, Friday 14th March

The Lonely Tourist certainly didn’t cut a solitary figure at a heaving Stag and Hounds tonight as he launched his third and best record yet ‘Shouting At Weather.’  This genial purveyor of top class folk/skiffle storytelling appears to have been unequivocally adopted by the natives since the former Odeon Beatclub singer/guitarist decamped to Bristol from Glasgow a few years back.

After securing a fantastic line-up earlier in the year for ‘Stagfest’ gigs at this pub are always a lively affair and it’s fast becoming one of the places to be for seeking out emerging talent.  Paul Tierney aka the Lonely Tourist is a regular support fixture to many who’ve performed there and has played in almost every available venue/square foot that you can throw down a loop pedal across the city, including a fantastic slot at the 02 Academy warming up for, well; a shambolic, Babyshambles gig late last year.  Put simply to the uninitiated we’re watching Johnny Cash with the broadest Scottish accent heard since a pair of bespectacled brothers last tormented the airwaves, strumming acoustic and mandolin at a speed falling just short of wild, telling sharp-witted tales of talent squandering (‘Rattling Around’, ‘Send In The Clowns’) and prolific boozing (‘Ten Green’, ‘Last Glass’.)  

With a shy demeanour and a packed out room it’s a situation that you’d imagine would be uncomfortable for the self-deprecating singer, who all too often depicts himself as bereft of talent and support, but he seems to take it all in his stride.  There’s a tight band behind him for the first half of the gig its great fun from the off.  “The jukebox gets more money than me for standing singing songs” Tierney triumphantly cries on ‘Watch For The Sharks’ in it’s desperate lyrics versus bouncy melody Smiths-ness.  Slowing down soon after and the lyrical ingenuity knows no bounds as Mr Tourist takes us through life in the eyes of an insect (‘Fly On Your Window’) before concluding quietly “please put up with me and don’t try to kill me.” 

‘Clydebank 360 Feedback’ charts the life of a downtrodden, reluctant call centre supervisor dedicated by Tierney to anyone who hates their boss which predictably brings a hearty cheer.  Simple acoustic melodies with the emphasis on humour and cheerful despair(!) are the orders of the day but it actually never comes across as overly indulgent or grossly negative.  On ‘Rattling Around’ a stomping ode to relentless gigging, there’s further regret and disappointment but always with a rye smile and a perfect metaphor; “I’ve added up the change in life’s guitar case, two buttons, a Euro and eighty nine pence.  It’s good to know I’m doing this for fun, cos someone’s making it, well I make none.”  Great stuff.

“Oh Oh Oh Oh Oh Paul Tierney Paul Tierney” is perhaps one of the most unlikely choruses you might ever hear for our finale.  This isn’t some egotistical self-homage but all part of what is the Lonely Tourist’s most lyrically brilliant piece of work yet; ‘The Ballad Of Paul Tierney.’  Picked up by BBC6 Music the tune tracks the tragically short-lived football career of the singer’s namesake whilst cleverly linking their fortunes of hope, promise and supposed failure within their respective careers. The entire crowd bellows it back arms aloft to unexpectedly bring the singer back on for one more.  It’s another superlative performance from one of Bristol’s best songwriters, charming and converting all before him.

Best Track: Click on link below
Lonely Tourist - 'The Ballad of Paul Tierney'


Buy Albums here:

'Shouting At Weather'
'I Live Where You Are'
'Sir I Am A Good Man'


Kindly published by Bristol 24-7
http://www.bristol247.com/2014/03/25/review-lonely-tourist-at-stag-hounds-bristol-47756/

Gaz Brookfield - Exchange, Friday 28th February

The term ‘Local Legend’ can be attributed all too often but to those around the city who’ve seen the gradual emergence of D.I.Y. singer/songwriter Gaz Brookfield, it’s a more than appropriate title as the penultimate date of his latest tour reaches a packed rowdy Exchange.

Playing over 300 gigs a year without a label, manager, agent or (quite often) a reliable means of transport, the well travelled acoustic people’s poet is back in his adopted city after the release of outstanding 3rd album ‘In The Company Of Thieves.’  An even better proposition with a full band and fiddle behind him, it’s easy to see how he’s amassed such an army of admirers in the South-West and beyond.  For an entry fee of less than two pints, we’re treated to real quality throughout.  Ieuan Williams impresses early on, a young Welshman with a great future ahead.  Next up Sam Eason charms the crowd and gets them singing, the flame-haired bearded singer turns the air all warm and fuzzy.  Dueting on ‘Cliches’ with talented wife Beth on vocals and I can see a fair few blokes reaching for their partners shoulders in one of many moments of pop brilliance.

On to our headliner who bravely opens a gig in Bristol with an ode to Swindon; ‘SN1’ -whacking and knuckle-rapping his well-worn acoustic as he goes.  The band behind him appears well drilled and the perfect foil for his fast-paced accessible folk with violinist Ben Wain playing stealing the show on crowd favourite ‘Limelight.’  The autobiographical ‘Towns’ follows as a real highlight.  Not for the first time Brookfield successfully mixes humour and brutally honest sentiment with ease as we’re told (about his parents), “folk called them the Brookfields, I call them Mum and Dad” and more movingly, “coz playing songs to folk like you is what keeps me alive.”  I’m pretty sure he’s not exaggerating here.

Interaction with the audience is an essential element to any of his shows.  There’s a unilateral charge of glasses in honour of “every real musician” on witty anti-plastic pop anthem ‘Diet of Banality;’ with a clutch of proudly hoisted middle fingers at the mention of the dark lord Cowell.  ‘Tell It To The Beer’ sees the charismatic singer alone on stage with harmonica and guitar delicately taking us through his early career in a doomed rock band, the track dedicated to his former band members genuinely haunts and chokes before concluding “I wouldn’t change the life we led for any other.”  Having triumphantly tackled plagiarism (‘Frank and Sam’) and life on the road eating service station sandwiches (the fun folk-fest of ‘Land Pirate’s Life’), there’s a further writing maturity on recent single ‘Black Dog Day.’  It’s quite simply one of the best songs I’ve heard addressing the issue of depression, the lyrics made more poignant when dispatched with bucketloads of throaty passion and an unusually weighty alt-rock.

Musically there’s a case for Frank Turner meeting Dylan but substituting politics for the pursuit of happiness, unburdened by material trappings and rejoicing in living for today.  Final tune ‘Westcountry’ is a big event demanding participation and the multi-talented musician appears genuinely and rightly humbled by their vociferous reaction.  More comedy in the lyrics (forgetting London, he’d rather see the West End of the M4 corridor) but it’s an open homage to Bristol and further proof of a real bond between a singer and his home-town fans that is rarely seen.  Not for the first time I leave a Brookfield gig with the feeling that he really is one of them, living the dream for everyone one of them who in turn do their utmost to keep him going on the road.  Not a fortnight ago an emergency batch of merch was bought to help him pay for car repairs to continue his 25 gig February tour.  What still defies belief is that such quality can come from an unsigned artist with a gigging ethic that even Springsteen couldn’t match but similarly a man who lives to play live for his fans; their faith and support is certainly rewarded when he delivers an astonishingly good performance like this one.

Best track: Click on link below
Gaz Brookfield - 'Towns'

Buy albums here:
Gaz Brookfield Albums

Kindly published by Bristol 24-7
http://www.bristol247.com/2014/03/04/review-gaz-brookfield-exchange-bristol-97118/

Chris Webb - Bank Tavern, Weds 19th February

For some time now, in a welcome oasis amongst the bustle of Broadmead, quite possibly Bristol’s smallest pub; The Bank Tavern has been a home from home to some of the city’s best up-and-coming musical talent.  With a safe capacity of just 70 this lively venue has been the perfect regular practice ground for one hugely talented 23 year old local Philosophy graduate soon to release his third album (“If Dragons Started Forest Fires.”)

A folk/pop prodigy, Chris Webb plays and curates Wednesday night sets there with guest supports of the highest order from the likes of Lonely Tourist, Mary Spender, Ellen Cox and more.  Mostly seated affairs and with a respectful crowd, Webb’s Wednesday gigs at the Bank don’t require any financial transaction and the singer can be seen working the room and thanking punters for coming along, which is a nice touch.  Alternating 30 minute sets with Tim Manning, frontman of country/Americana trio Blind River Scare we’re treated to some precision picking and well-crafted tales of everyday life.  Within the music you can hear the influence of some acoustic singer-songwriting classics (John Martyn, Nick Drake) to more contemporary alt-folk (Gomez and Josh Ritter, whom he covers well later on.)

His rather unusual guitar playing is showcased on the brilliant ‘Lost Boy.’  Using his thumb to play the rhythm by strumming the bottom three strings and picking the top three for the melody it sounds like we have a musical poltergeist in the room.  It’s a cool trick and one seldom seen that definitely helps to provide added depth.  Webb’s smooth yet powerful voice also demands attention especially when married with some knockout lyrics; “Nocturnally I’m organised and scattered in the day, by evening I’m a warrior drinking innocence away.”  Likewise, ‘Sundance’ involves some pretty swift strumming worthy of more ears.  Although the tunes are relatively simple in structure, Webb appears to have nailed the art of the catchy chorus with witty lines and the odd guitar trick; all delivered with a smile upon his face.

Now a full-time musician and with an intimate launch party on Friday, Webb has definitely progressed his sound.  New tracks ‘Keyrings’ and ‘Platforms’ certainly sound more immediate and there’s a greater more confident vocal reach than on his debut.  It’s difficult for a solo artist to stand out in a city with so much talent already at its disposal but if you see him in a support slot around town or on a Wednesday night you’ll see for yourself that the humble guitarist has the technical ability and songcraft to go far.

Best Track: Click on link below
Chris Webb - 'Lost Boy'

Kindly published by Bristol 24-7
http://www.bristol247.com/2014/02/26/review-chris-webb-bank-tavern-bristol-35170/

The Boxer Rebellion, Thekla, Thursday 6th February

Curiously named after a late nineteenth century peasant uprising in China; multi-national indie post-rockers The Boxer Rebellion win yet another battle aboard a packed Thekla.

It’s been an interesting journey so far for a band who’ve had their fair share of ups and downs.  Promising first release ‘Exits’ garnered critical support from NME and Kerrang rubbing shoulders with debuts from Bloc Party, Kasabian and the Kaiser Chiefs in the last real mainstream indie high-watermark back in 2005.  Having signed to Alan McGee’s ill-fated Poptones label which soon imploded the band found themselves homeless and in paid employment to produce a follow up release.  Entirely self-funded, mostly from tireless gigging, it was the first ever digital iTunes only album from an unsigned band to enter the US Billboard chart.  Latest effort ‘Promises’ is a progression of sorts as (in the studio at least) the band swap those early aggro rock-outs for Sigur Ros-like loops, layers and effects pedals.

Arriving at the Thekla and with a storm raging outside, the soggy audience of mixed ages are treated to an hour of piano-led building anthems, two-dimensional grunge and deafening distortion (think ‘The Bends’ era Radiohead).  They begin with ‘The Runner,’ a punchy punky ball-grabbing intro which goes down well.  Clean-cut Tennessee-bred frontman Nathan Nicholson then flits from guitar to keyboard, hitting those towering choir-boy falsettos for the most part with eyes closed and praying hands aloft.  There’s no doubting that Nicholson is an accomplished singer but his voice can sound a little generic at times, it would appear that balancing the technical ability to reach for high notes comes at the expense of injecting real passion.

Visually they have solid rock credentials with thick-set dynamo Australian guitarist Todd Howe and outstanding hairy Brit drummer Piers Hewitt.  Hewitt stars throughout with some top-class rapid-fire spattering that lifts the occasional gloom even when sharing drumming duties in a three-way attack with Howe and bassist Adam Harrison on the rousing ‘New York.’  Moving through the set and ‘Step Out Of The Car’ would sit comfortably on ‘Pablo Honey,’ once again for all its bluster you can’t help that feel that Nicholson feels more comfortable in front of a keyboard playing to the Coldplay sect nowadays.  ‘Diamonds’ proves a real crowd-pleaser and it’s easy to see how its guitar hook and stratospheric chorus would land it on so many US TV shows and soundtracks (‘One Tree Hill’, ‘Grey’s Anatomy’ et al.)  New single ‘Keep Moving’ breezily bounces before old favourite ‘Watermelon’ whips up a maelstrom of crunching guitars and rare throaty howls showing that they can still rock hard.

‘Fragile’ is the night’s highlight which sees Harrison back on the drum pads in tandem with Hewitt’s stunning kit work, Howe twiddles the effects knobs and Nicholson soars over a crescendo of fuzz.  Final tune ‘Gospel of Goro Adachi’ feels like the sound that U2 have recently been struggling to nail.  Gentle piano melody, breathy vocals, synthy pads, another scything masterclass from Howe (who plays keys, axe and drums!) before Nicholson and Harrison drop to their knees and pound on the effects pedals.  We’re left with a wall of noise and a huge ovation for a band who are strikingly superior live than on record and who will surely continue to win admirers.

Best Track: Click on link below
Boxer Rebellion - 'Diamonds'


Kindly published by Bristol 24-7
http://www.bristol247.com/2014/02/12/review-boxer-rebellion-thekla-bristol-24236/

Matthew And The Atlas - Louisiana, Sunday 27th January

Former landscape gardener Matthew Hegarty has assembled a tight folk/rock ensemble of real quality and with a hotly-anticipated April debut album on the way the future is looking very rosy for the recent Mumford and Sons support band. 

A well-known figure on the folk scene as a solo artist, Hegarty was the first signing to Communion Music, now home to Ben Howard, Treetop Flyers and er, Gotye.  Now with a band that give the bespectacled frontman’s best tunes an atmospheric cinematic power and brooding brilliance, the group appears destined for a shot at the big time themselves.  It’s fair to say that the nation may be a little Mumforded-out right now but fear not, Heggarty and Co are bringing a brand of folk which uplifts and surprises substituting a hint of rhythmic dubstep for those well-worn faux-irish hoe-downs.  Mysteriously absent tonight are the sumptuous vocal harmonies from long time collaborator Lindsay West, but in truth her absence reveals an edgier less trad-folk sound that may prove more of a mainstream attraction. 

Two things hit home from the start of this gig; firstly there’s no bassist –those sustained basslines are in fact coming from the keyboardist.  Secondly, Hegarty’s voice commands the complete attention of his audience; his fractious warble holds the room with a timeless quality only really equalled by fellow retro crooner Richard Hawley.  New single ‘Pale Sun Rose’ opens with a melodic maritime banjo met by a tropical guitar hook and a ground-rumbling, plummeting soprano.  It’s one of a fair few that enchant the sell out crowd with its thick synthy layers that oddly benefit from those chirpy slappy electro drums.  There’s a reasonably awkward silence between tracks with little crowd interaction, many of their tunes seem to rather uncomfortably and abruptly just, well; end.  Regardless, next track ‘Everything That Dies’ is a classy anthem including a hovering bassline and a transfixed Hegarty borrowing from Springsteen’s ‘Atlantic City’ as he booms out the bittersweet mantra “You said everyone you know, one day will surely die/But everything that dies in some way returns.”  Throw in some shuffling drums and choral harmonies and it all sounds strangely uplifting without the band at any point breaking the shackles. 

The performance drifts a little shortly afterwards and the intensity does drop giving way to earnest folk that veers into the middle of the road.  ‘Out Of The Darkness” brings it back to the boil and it’s another slow-burner which showcases the frontman’s vocal gymnastics amid a cold piano.  Snappy drums, rattly bass and a wall of distortion underpin the impressive penultimate track which couldn’t be further away from the folky Americana of the first two EP’s.  Hegarty humbly thanks the crowd before announcing “we have to go now because we haven’t got any more songs.”  How the long-awaited debut will fare you feel will much depend on whether they continue their fantastic experiment; with a bigger venue tour already booked in, the beaming audience tonight certainly hope so.

Best Tracks: Click on link below

Matthew And The Atlas - 'Pale Sun Rose'

Matthew And The Atlas - 'Everything That Dies'

Kindly published by Bristol 24-7
http://www.bristol247.com/2014/01/30/review-matthew-atlas-louisiana-bristol-43944/

Evil Twin - The Lantern, Friday 17th January

Lo-fi Bristolian indie hopefuls Evil Twin have a reputation for being one of the hottest properties on the unsigned local circuit and after a rip-snorting forty-five minute rock assault it’s clear to see why.

Together for under a couple of years, the band have already taken their self-confessed ‘no bollocks music’ to the Dot-to-Dot and Green Man festivals as well as a string of support gigs around the region.  Opting to hone their sound in front of a live audience and shunning the expensive lure of the studio has paid off for the recent graduates whose diverse range of influences shows that they’ve done their rock’n’roll homework. 

They’ve got some promising support of their own in the shape of intense melodic Alt-J’ish trio Tiers and a superb set from an energetic young band formally known as ‘Why Kill Ian?’ -Bridgwater’s pop-punk quartet ‘Bridges’.  Bereft of shoes, this early Kings of Leon influenced group definitely make themselves at home on the stage in front of an enthusiastic crowd.  Bearded frontman Ethan Proctor’s vocals are reminiscent of Brandon Boyd (Incubus) on best track ‘Storming The Palace’ which bombs along with joyous ferocity.  Crunching guitars from ‘Dirty Harry’ villain Josh Redman-Thomas and some classy shimmering drums get the audience shuffling and with top new single ‘Amor’ imminent, they’re definitely one to watch. 

BBC Introducing favourites Evil Twin are deserved headliners tonight and baseball capped singer songwriter Andrew Barnes leads the band out to a hearty ovation.  The skinny front-man struts confidently about the stage dropping dirty guitar riffs and stretching vocals that fall just short of Jeff Buckley.  Not a bad introduction at all.  Early track ‘Situation’ opens with an Arctic Monkeys fuzzy chainsaw guitar riff and punchy Automatic bass with a welcome twist of a brizzle accent.  With a lo-fi feel and harmonies borrowed from Pavement it’s a trip back to the late 90’s for some but with far more bite and way less indulgence.  It’s not all about youthful punchy rock as the second half of building Led Zep rock-out ‘Sinister Woman’ testifies.  A real cut of quality; this one showcases Barnes’ gut-wrenching range and a real writing maturity beyond his years.

There’s not much banter between songs but in truth the crowd are here more out of curiosity and hope than familiarity, they do however appear to be won over by the time we get to debut single ‘Dusk Til Dawn’.  Another monstrous Queens Of The Stone Age riff is unleashed with delicious pomp amid Barnes howling “I didn’t start this, throwing punches in the dark.”  Louis Jones' screeching guitar bosses the track from start to finish, bass-man Anton Larkin proving the perfect foil for what is the band’s strongest tune to date.  It’s a thoroughly enjoyable ride; tight, polished and pounding indie perfection, check them out for yourself it’s unlikely you’ll be disappointed.

Kindly published by Bristol24-7:
http://www.bristol247.com/2014/01/21/review-evil-twin-lantern-colston-hall-bristol-11467/ 


Click on links below

Evil Twin - 'Sinister Woman'
Evil Twin - 'Dusk Til Dawn'

Top 10 Local Talents You Need To See In 2014

So a rare departure from the usual gig review for this post just to mention some superb local acts that we Bristolians should be checking out in 2014

In no particular order then.....

1. Gaz Brookfield

Fresh from the release of his third and best album yet 'In The Company Of Thieves', the Bristol via Swindon folk/rock singer/songwriter regularly clocks up a mighty 200+ gigs a year including no fewer than 3 appearances at this year's Glastonbury Festival.  With his superb tales of life on the road as a 'DIY' musician and unrelenting ability to unite and convert audiences, 2014 could be the year we see the grounded singer take the UK by storm.

www.gazbrookfield.com

Best Track:
'Diet Of Banality'


2. Lonely Tourist

Paul Tierney aka The Lonely Tourist is a Glaswegian singer/songwriter residing in Bristol and a regular on the city circuit.  With the imminent release of his third solo album, it promises to be another great year for the self-effacing guitarist who is capable of combining catchy choruses and stunning lyrics that continue to win him new friends.

http://lonelytourist.bandcamp.com/

Best Track:
'Ballad Of Paul Tierney'


3. Coasts

Mixing tropical pop with some killer indie/rock anthems is Bath/Bristol quartet Coasts.  2013 saw Chris Caines' group release a couple of impressive EP's and the completion of their first UK tour culminating in a triumphant gig at The Louisiana.  With tunes already being featured on TV, a growing fanbase and an ear for a rousing killer hook; these guys are destined for mainstream attention.

www.coastsband.com

Best Track:
'Oceans'


4. Oxygen Thief

Barry Dolan is the multi-talented guitarist/singer metal influenced Oxygen Thief.  Having spent the most part of 2013 producing some mind-blowing performances individually he was recently signed to Xtra Mile after taking to the road and studio with a full band behind him for latest album; 'Accidents Do Not Happen, They Are Caused'. In a live arena he has the energy, power and ability to push any guitar you put into his hands to its absolute limit; a must see.

http://www.oxygenthiefmusic.com/

Best Track:
'Terry Nutkins Salute'


5. Flamenco Thief

One time Postie from Bath, Craig Sutton aka Flamenco Thief has just finished a monster tour of Europe with his trusty Boss rc300 loop pedal and is back out on the road again in 2014.  Layering flamenco rhythms, percussive knuckle-rapping and some crazy finger-picking worthy of mention alongside Rodrigo y Gabriela, he has been mesmerising Bristol and Bath venues for some time now.  Check him out live, you seriously won't believe what he can do.

http://theflamencothief.com/

Best Track:
'Mad Cow Stomp'



6. Poor Old Dogs

Bristol's favourite folk band Poor Old Dogs always make for a great night with their hilarious tales of immoral estate agents, flasher milkmen and nuisance neighbours.  Expect frantic hoe-downs, furious mandolin and a whole load of fun in any live setting.  Their second EP 'Milkman' was a highlight in what was a great year for the fantastic cider-swilling quintet.

http://poorolddogs.co.uk/

Best Track:
'Milkman'



7. Chris Webb

Chris is another of Bristol's best young acoustic acts who is returning to his role as curator for the Bank Tavern's fantastic Wednesday night slots.  With an unusual strumming/picking technique, soulful vocals and some top folk fuelled tunes about everyday life, Chris continues to charm audiences around the city and more recently mainland Europe.

https://soundcloud.com/chriswebbbristol

Best Track:
'Lost Boy'


8. Magnus Puto

Magnus Puto are breathing fresh life into ska music in the UK and after a string of well-received EP's will surely continue to gain admirers.  From Bristol, the quintet are heading back on the road to follow up on last year's BBC Introducing slot at Glastonbury and supporting the likes of Plan B, Fat Boy Slim, The Beat and Reel Big Fish amongst others. Mixing hip-hop, indie, reggae and ska, they're able to get any crowd jumping.

http://www.themagnusputo.com/

Best Track:
'Make Your Mind Up'



9. Sam Eason / Descendants Of Gentleman

Likeable Bath based singer/songwriter Sam Eason is a regular on the Bristol support circuit and with new band Descendants Of Gentleman up and running it promises to be an exciting year for fans of the bearded ginger maestro.  Sam has two fantastic EP's as a solo artist mixing folk and pop with a great knack for producing some infectious choruses and heartfelt odes to love and life.

http://www.sameason.co.uk/

Best Track:
'Turn On Your Heels'


10. Yes Rebels

Bobby Anderson and his Bristol based band are an incendiary rock outfit well known across the city for their powerful delivery of scuzzy pop-punk/grunge.  After the superb 'Mixtapes' EP and a string of energetic festival appearances the enigmatic Anderson knows how to work a crowd.  Influenced by Queens Of The Stone Age and with a heritage in soul music (son of soul legend Carleen Anderson), expect these guys to play a blinder wherever they turn up.

https://www.facebook.com/yesrebels

Best Track:
'Out Of The Gun'


There's so many more across Bristol that deserve a mention but if your new years resolution (like mine last year) is to get out and see more bands then get your tickets sorted for these top talents ASAP!

Kindly published by Bristol24-7.com:
http://www.bristol247.com/2013/12/31/top-10-bristol-musiciansbands-to-watch-in-2014-2013/

Peace - Anson Rooms, Thursday 12th December

Questions in my mind ahead of this one that I'm struggling to answer; for a band with so much exposure/whipped up hype (mostly from career makers and breakers NME) how come they can't sell out the Anson Rooms on a Thursday night?  Are we all wearing rose-tinted specs?  Are they actually any good? Is Bristol still apathetic to indie? It's a head scratcher alright after this incendiary 50 minute performance proves to those who were there that the Worcester quartet are one of the few shining lights in British rock.

Throwing together elements of psychedelia, baggy and Brit-pop; the group nominated for countless ‘Sound of 2013’ polls arrive in Bristol on what must surely be their last tour of recorded live debut album ‘In Love’.  Whilst they’re often compared to other trendy hipster types Foals, Maccabbees and Vampire Weekend the group is actually fronted by a chap with a decent level of rock’n’roll charisma.  Oft bizarrely-dressed Harry Koisser cuts a Jagger-esque figure on-stage adorned in a hatched two-tone shirt last seen wall-papering a yuppie flat in 1987.  It’s been a far from peaceful year for the group The Guardian has hailed as the ‘future of indie’ with a whole heap of festival slots, an opening slot on the NME Awards Tour and perhaps some disproportionate gushing from the long-standing magazine.  

After opener ‘Waste Of Paint’ throws it’s shifty indie-disco Happy Monday’s weight around, its fair to suggest we’re not hearing anything new but of course we’re in 2013 not 1989 and there’s a whole new generation of indie kids yearning for their own Hacienda experience.  ‘Follow Baby’ invokes some crowd-surfing whilst other Koisser brother Samuel (bass) lays down a grungy groove to be layered over by a cacophony of wonky guitar brought into line by a smooth falsetto harmony.  Organised chaos during the funky breaks on ‘Drain’ which sees some wild bubbling tropical guitar licks alongside some impressively stretching yet tight vocals.  “If you’re not happy wearing denim, you’re a devil in disguise” is the call on ‘Float On Forever’ – a definite anthem that sounds like Gaz Coombes has replaced Damon Albarn in Blur circa ‘The Great Escape.’  

The equally catchy ‘Lovesick’ ought to be a monster hit with a chorus that would have cleaned up in ’95 as would ‘Toxic’ which despite yet more of Doug Castle’s aggro wonky guitar can’t hide it’s pop sensibilities.  There’s little time for banter as the band rattle off nearly all of the debut and a couple of EP tracks including a delightfully ear-splitting and visually blinding ‘1998’.  No cute choruses here, just an adrenalin packed wall of sound, breathless and devastating (think ‘Blow Out’ from Radiohead’s ‘Pablo Honey’).  They leave to a deservedly loud ovation in what was short, sweet and just superb from start to finish.  Will the NME turn on them as they often do post-debut album?  Maybe.  Or maybe these are the first strides towards the top from a band happy to describe themselves as creating ‘music to grind, roll and smoke / music to fuck you in the heart.’

Kindly published by www.bristol24-7.com
http://www.bristol247.com/2013/12/18/review-peace-at-anson-rooms-bristol-40666/

Setlist:

1. Waste Of Paint
2. Follow Baby
3. Higher Than The Sun
4. Drain
5. Float On Forever
6. Lovesick
7. Money
8. Toxic
9. Wraith
10. 1998
11. California Daze
12. Bloodshake

Best track: Click on link below
Peace - 'Lovesick'

Buy album here:

The Moulettes - Thekla, Friday 6th December

Blood-curdling bassoon, bouncing double bass, scintillating strings and vocal harmonies to die for; welcome to the fairytale alt-folk universe inhabited by Glastonbury formed sextet The Moulettes. 

In a galaxy far far away from the mainstream watery folk bandwagon that the dark lord Barlow has recently hitched a ride upon there is a band creating ethereal, exhilarating and carefully mastered folk/rock opuses via a vast assembly of instruments that sonically stretch the boundaries between folk, rock and (curiously) prog.  Headed up by the beautiful English rose vocals, cello and guitar of Hannah Miller, the band bring their quirky and inventive sounds to a fervent Thekla crowd of students, Radio 2 folk purists and curious newbies.  The ‘Farewell To The Bear’ tour comes after a heavy gigging schedule in support of last year’s second album ‘The Bears Revenge’ which delighted with its Balkan gypsy rhythms (from Miller’s time tutoring music in Bosnia) and addictive yet unusual tempo changes. 

The hurtling staccato punk of opener ‘Horses For Hearses’ is followed by the upbeat serenity of ‘Sing Unto Me’ which has a Fairport Convention feel but with a sophisticated texture, fire-cracking drums and some stunning three part harmonies.  There’s some confident banter between songs as Miller and Ruth Skipper (Bassoon, Vocals and Autoharp) playfully tease each other, both adorned in spectacular milk maid / Bavarian Dirndl costumes.  Skipper’s bassoon is a potent weapon throughout the set and particularly on ‘Unlock The Doors’ as funky orchestral folk is interrupted by images of twilight adventures in the forest with hobbits being chased by trolls across the shire.  It’s an instrument that many of tonight’s crowd may not have considered as a substitute for a big guitar solo but it works a treat bringing regular grins and whoops.  Furthermore, Jim Mortimore’s double bass is so striking that it negates the need for overly intrusive percussion; that said, there’s some very handy breaks from drummer Ollie Austin and together they provide the perfect foil for the group’s daring experimentations. 

Mid-way through the set and the celestial ‘Songbird’ has a timeless charm that sees the Miller/Skipper vocal dream team alongside Anisa Arslanagic on sumptuous violin for a track that warms like mulled cider.  ‘Devil Of Mine’ is tonight’s highlight and sounds like Kate Bush in a rock band with a hip-hop style vocal, not least on rock’s most unlikely winning lyric; “He moved towards us his cravat was exquisite.”  Throw in some violent cello and it’s a pretty good summation of the eccentricity and off-beat magic of the band, it certainly has the audience gripped.  Penultimate murder-ballad ‘Bloodshed In The Woodshed’ is an enthralling ride with lyrics that Morrissey would be proud of and shows that it’s worth remembering that above all the bewitching, complex musicianship; these guys can rock.  At times breathtaking, at times potty, from the outbreaks of Irish jigs to 1920’s swing jazz, it’s never a dull moment and certainly anything but pretentious.  Forthcoming album with working title ‘Constellations’ has contributions from prog legend and ‘God of Hellfire’ Arthur Brown amongst others.  And after tonight’s superb performance its hard to not look forward with anticipation to what on earth that will sound like.  

Kindly published by Bristol24-7: http://www.bristol247.com/2013/12/10/review-moulettes-thekla-bristol-81428/

Best track: Click on link below
Moulettes - 'Unlock The Doors'

Setlist TBC

Buy albums here:

Valerie June - Thekla, Monday 25th November

Tennessee Time at the Thekla and a taste of the deep south as superstar-in-waiting Valerie June delights with her self-proclaimed ‘moonshine roots music.’

It’s been a big year for the Memphis bred multi-talented singer with the release of her first album as a signed artist (the superb ‘Pushin’ Against A Stone’), rave reviews from a support slot on Jake Bugg’s UK tour and an attention-grabbing performance on Jools Holland’s show.  There was a real buzz and sense of anticipation for tonight’s show as the venue sold out quickly with all the good ship’s occupants feverishly sharing how they discovered her intoxicating blend of blues, gospel, soul, folk and bluegrass.  And it’s really hard not to love the self-effacing charismatic American especially when you consider her struggle as a DIY artist self-releasing albums personally sold from the boot of her car and busking at blues festivals across the Mississippi Delta.

From her giddy entrance with leather brown handbag on her arm to the giggling fit of laughter at the close ridiculing herself for talking too much it’s clear we’re in the presence of a grounded seasoned performer and not the diva that her immensely powerful voice might suggest.  Early track ‘The Hour’ impresses with it’s Motown soul and lilting double bass as Valerie puts that voice through a vigorous workout of hums, Tina Turner-esque grunts and razor-sharp but sweet melodies.  Shedding her borrowed mustard cardie she tells us of how she’s been too busy being a ‘hard workin’ woman’ to go shopping before unleashing a pacy version of crowd-pleaser ‘Workin’ Woman Blues.’  Nimbly finger-picking through the opening bars before that shrieking Dolly Parton/June Carter-like twang “I ain’t fit to be no mother, I ain’t fit to be no wife yet, I been workin’ like a man, y’all, I been workin’ all my life, y’all.”  There’s pockets of dancing in the crowd as its hard to resist the rapid funky beats, knockout vocals and brawling slide guitar.

Endearingly gabbing between songs she explains her influences (most notably Muddy Waters, Rosa Lee Hill, who she covers frenetically on Banjo later), the origin of aforementioned ‘moonshine roots music’ and her road to success.  With church-reared gospel ability it looks like she barely opens her mouth to sing at times and she totters around the stage, all beaming smiles flicking her dreadlocked nest of snakes away from the frets.  Her versatility proves the real winner tonight as she impressively turns her hand to a plethora of genres; ‘Can’t Be Told’ (Blues/Rock), ‘Somebody To Love’ (Folk), ‘Raindance’ (Bluegrass/Gospel) all with a timeless quality belying her years.

Returning to the stage for fan requested first encore ‘Twined and Twisted’ (which she says came to her in a dream) and an eerie but respectful silence gives the perfect platform to mesmerize in a Springsteen (Nebraska era) desert campfire tale.  The schizophrenic ‘Shotgun’ is a highlight as she sinisterly coos, ‘If I can’t have you nobody can’ before plucking a butter knife from her hair to shaves the strings wildly.  Good stuff.  She’s off home for her Grandma’s thanksgiving cooking, “I’m going now y’all” as she drops off the stage, marching through the crowd to sell her own merch.  As a lengthy line forms, you can’t help but feel we’ve seen something and someone with star quality tonight –we all lament that she won’t be back to the Thekla for sure as the bigger venues and a deserved limelight beckons.

Kindly published by Bristol24-7: http://www.bristol247.com/2013/11/27/review-valerie-june-54467/

Best track: Click on link below
Valerie June - 'Workin' Woman Blues

Setlist TBA

Buy albums here:

The Editors - 02 Academy, Monday 11th November

Tonight Matthew I'm going to be......Expressive frontman Tom Smith isn't far from bursting his slight frame tonight as his gloom-fuelled quintet takes the packed 02 crowd through the good, the bad and the god-awful of 80's post-punk.  Always an easy target for criticism The Editors have made it through their first ten years and 4 albums with a strong fanbase where many have fallen away.  Their debut album (and arguably still their best) went platinum and earned them a Mercury prize shortlisting as the brummie band became a regular festival favourite in the Noughties.  They’re back in Bristol tonight in a bid to repair some of the damage done by Flood produced third album/synth-electro mish-mash; ‘In This Light And On This Evening’ and recent slight improvement fourth; ‘The Weight Of Your Love.’

Starting with new track ‘Sugar’ and Russell Leetch’s pulsing bass appears to borrow heavily from Bjork track ‘Army Of Me’.  Smith writhes and squirms about the stage, enchanting the crowd as he howls “it breaks my heart to love you” with the facial expressions of a man having a cardiac arrest.  There’s billows of smoke and a crackling light show, it’s an appropriate backdrop for their maudlin melodies and Smith’s blood-curdling Ian Curtis baritone to really let rip. Dropping in the anthemic ‘Smokers Outside The Hospital Doors’ so early could be a mistake but tell that to the delighted owners of pointy fingers and waving limbs across the sweaty pit.  

‘Two Hearted Spider’ has an intriguing title but that’s where the intrigue ends as they slip into watery Simple Minds territory and the crowd begin to chatter.  Thankfully though it’s one of only a few tonight that bore rather than bewilder and it’s obvious that most punters are here for the first two albums.  ‘Munich’ sounds as joyously violent as ever and is the night’s obvious highlight and ‘Racing Rats’ with its pumping chorus and grandiose piano is a real moment of class.  Sadly though the feeling that this could be one of the great gigs is short-lived as Smith tries to force the lengthy drab Coldplay-esque ‘Honesty’ and Leetch leads an uncomfortable clap-along.  

First encore ‘Bricks And Mortar’ is an unmitigated disaster with some irking, rancid trance bleeping and Smith pounding the piano in a Thom Yorke stupor as the audience shrugs.  Only a couple of new tracks hit the spot tonight (‘Sugar’, ‘A Ton Of Love’) in what is a tale of two eras for the band.  Smith certainly gives it his all throughout and you can’t fault the desire to diversify their sound but you can’t help but feel that they’re struggling for consistency.  Mounting the piano on ‘Nothing’ can’t save the tune from anonymity but they do at least leave on a high to a dancey ‘Papillion’ with its dark Depeche Mode disco and bleak-as-ever lyrics.  In all they can be pleased with what is a performance full of energy and passion; no band can consider themselves entirely original but at times, in a live arena, The Editors can draw upon the qualities of the past to look like world-beaters.

Setlist:

1. Sugar 
2. Someone Says 
3. Smokers Outside the Hospital Doors 
4. Bones 
5. Eat Raw Meat = Blood Drool 
6. Two Hearted Spider 
7. You Don't Know Love 
8. All Sparks 
9. Formaldehyde 
10. A Ton of Love 
11. An End Has a Start 
12. Bullets 
13. In This Light and on This Evening 
14. Munich 
15. The Racing Rats 
16. Honesty 
17. Bricks and Mortar 
18. Nothing 
19. Papillon 

Best Track: click on link below
Editors - 'Munich'

Buy albums here: