Rhythm and Booze : live reviews

Pigeon Detectives Live @ The HMV Institute Birmingham 2/4/11

2011-04-13T09:36:00.005+01:00

The Pigeon Detectives are back with a brand new album, Up, Guards And At Em!, a slightly new sound and same fanatical fanbase that they've had since day one.

A new release by the Leeds based five-piece may not generate the same kind of hysteria as that of fellow Yorkshire favourites Artic Monkey, however the Pigeon Detectives probably the most dedicated live following known to man and catching the band in Birmingham it's easy to see why.

The group lead by the enigmatic and slightly crazed Matt Bowman know how to put on a show, the band deliver a high octane set featuring all the early favourites as well as brand new classics in the making lifted from their new release. Right from the off the quintet have the capacity crowd eating from their hands as the band set about laying waste to the venue with their frantic punchy indie rock.

Old favourites such as Romantic Type, I Found Out and Take Her Back are welcomed friends, with the entire audience shouting along to the anthems taken from debut album Wait For Me, the near title track from the second album This Is An Emergency and Keep Your Dress On also saw the assembled masses rich fever pitch, whilst the band thrashed with more attitude and swagger than most bands can dream of.

New material such as What Can I Say, Turn Out The Lights and She Wants Me, showcased the bands slight new change of direction, perhaps a more reflective lighter side that compliments the rowdier material brilliantly, whilst allowing the audience to regain their breath after throwing themselves around to the early anthems.

The Pigeon Detectives deliver from start to finish, their set is fun, fast and frantic and in Matt Bowman they have the perfect ringmaster, whipping up a frenzy throughout their set, culminating in a dramatic dive into the appreciative audience. With performances like these and a host of killer songs and brand new favourites the Pigeon Detectives are going to be lapping up the adulation for a good whilst yet.

If you're yet to witness the band take flight I suggest you try to catch them at one of this years festivals, scramble down the front, throw yourself around and let the music take over, a Pigeon Detectives gig is simply the most fun you can have with your clothes on.

Rhythm & Booze Rating 10

www.thepigeondetectives.com

Zim Zim, The Callout, Vault Of Eagles-Live @ The Bunker Keystones Worcester 11/3/11

2011-03-15T13:35:00.004Z

In recent times I've not really been to too many gigs locally or otherwise, I guess the primary reason for this is the arrival of my son (ok so he's fourteen months old now, but hey I like being at home with him), but secondly and I'm talking locally here, there's not been much happening.

Sure there are the usual pub gigs dotted around and sure I've missed loads of interesting bands in Worcester's various music institutes but I've been waiting for an alternative, you know a regular night at a nice small venue featuring out of town bands as well as the usual local suspects. Well it would seem like my prayers have been answered, Keystones in the heart of Worcester is a small yet spacious venue that's just perfect for such gigs and in recent weeks have been putting on a Friday night event entitled The Bunker (again perfect for this underground bar) that features the best local acts and new up and coming out of town acts.

I thought it was about time I checked out what Worcester's new alternative night was all about. Descending the steps into the recently refurnished Keystones, I instantly felt a twinge of excitement, the bar now looks like my idea of a venue, the DJ was busy spinning the best in indie rock, alternative pop and stomping art-punk and in addition they had San Miguel on tap.

The opening act were angular indie racketeers and oddly named, Birmingham three-piece Zim Zim, a band that weld jagged art rock riffs, glorious vocal yelps, the occasional spoken word murmurs and a whole heap of punk funk groove. The trio threw themselves into their infectious set creating an exhilarating wall of noise that had me nodding my head gleefully and leading my feet on a merry dance. Tracks such as The Sushi Blues and Eye's Open Cars Parked are contagious little beasts that should hold this young energetic group in good stead for the future whilst I can hardly recommend their adrenaline fuelled live performance enough, if Zim Zim can capture their youthful exuberance on disc they could be onto huge things in the future.

Next up to walk the boards at The Bunker were Redditch based punk rock n roll merchants The Callout and somehow they managed to follow up the excitement created by Zim Zim with a fine frenzy of their own. The Callout deal in catchy punk riffs, loads of stop-starts, big melodic sing along choruses and loads of swagger creating an infectious sound that sticks in your head for aeons. The Callout may not be the most original sounding band on the planet, but they have plenty of hooks and more than enough contagious sing-a-long choruses to please even the most cynical of rock fans and any band that pen a track wonderfully entitled If I Wanted A Cuddle I Would Have Would Have Bought A Teddy Bear is onto a winner as far as I'm concerned.

My first visit to the Bunker was completed by yet another three-piece, Vault Of Eagles, a Midlands based rock band, who have already performed at the Academy in Birmingham among other places and are beginning to make a real name for themselves. The trio, two girls, one boy, play heavy moody stoner rock with angst-ridden female vocals, imagine Kyuss with PJ Harvey, Fu Manchu with Inger Lorre (former Nympths lead singer) or a sludgy down tuned Led Zeppelin with Nicole Atkins on singing duty. Vaults Of Eagles create a dense down-trodden groove that hooks the listener in, whilst the vocals and overall performance captivate an eager crowd.

So to sum up a brand new night, three different yet equally compelling bands and a couple of DJs spinning tunes that are actually worth hearing. The only downside to the entire evening was the lack of audience, but hopefully as the night grows so will the crowd. You can find The Bunker every Friday night at Keystones drop in, tune in and rock out.

Rhythm & Booze Rating 9

Kings Of Leon/The Whigs-Live At The NIA Birmingham 17/12/10

2011-01-04T18:21:00.002Z

Those of you that know me will know that I'm not a massive fan of gigs in large arenas such as the NIA or LG arena, I prefer my gigs to be a little more intimate, however I do understands that some bands reach a certain stage in their careers that they are no longer able to perform at their previous haunts and if they are to reach all their fans they have to play such enormo-domes.

Kings Of Leon, since the release of Sex Is On Fire, have reached such a platform, now I have to be honest I've not really bought into the massive commercial success of the band but I did have a lot of time for the group around the time of Molly's Chambers, so I decided to take the chance to catch up with the bands recent output when they hit Birmingham.

Now before I get onto the main event, I have to mention The Whigs, a brilliantly infectious three-piece garage rock band that help warm up the crowd before the headliners. The Whigs managed to attract a great deal of support from the early arrivers with their effortless blends of contagious hooks, punky riffs and addictive vocals, sure the band were a little dwarfed by such a large stage but the band bounced around with an energetic display that just had to be admired. The Whigs are back in the UK for a small club tour at the start of this year and they're well worth catching if you can.

Now to the main event, Kings Of Leon have received a mixed reception in recent times, a number of people I know reckon they've lost their edge or don't really deliver on stage, well I can happily confirm that the band still have an edge and though they may not move too much they still spends a great deal of energy delivering their stadium classics.

Kings Of Leon drew from all of their albums to date and the crowd seemed to lap up each and every morsel, singing and cheering along, helping to create quite an electric atmosphere. Highlights included Thumbnail, Use Somebody, Knocked Up and the inevitable Sex Is On Fire, the band were tight throughout, delivering everything with a precision that has obviously been honed on the road. I would have liked to see a little more movement and perhaps a little more interaction with the audience but hey it's difficult to knock a band who play a set littered with so many sing-a-long anthems.

Despite the bitter cold, snow and ice I came away from Kings Of Leon with a warm glow and a spring in my step, sometimes, just sometimes a big arena show really manages to hit the mark.

Rhythm & Booze Rating 8

Debut single by Is Tropical

2009-11-20T15:52:00.000Z

IS TROPICAL

DEBUT SINGLE - 'WHEN O' WHEN'

RELEASED - HITCLUB RECORDS - 18TH JANUARY 2010

London three - piece IS TROPICAL are set to release their debut single on the fledgling Hitclub Records label on the 18th of January 2010.

'When O' When', produced and Mixed by Al O'Connell (Klaxons/Big Pink) at Beethoven Street London, comes backed with 'Seasick Mutiny' and is released on limited edition seven inch vinyl and as a digital download. Uniquely varied and disjointed, 'When O' When' rattles through so many different rhythms and styles in a way unlike any other typical 3-and-a-half minute pop formula around right now.

Watch "When O' When" video here: http://www.youtube.com/watch?v=63RtthPDMaI

Formed early this year, the IS TROPICAL line up of Gary Barber(Vocals/Guitars/Keys), Simon Milner (Vocals/Guitars/Keys) and Dominic Apa (Drums/Programming) hit the ground running playing a quick stint of live dates and club nights in and around London. Developing their live show and songs simultaneously, they improvise from scrounged instruments and create a constantly changing soundscape, which sees them effortlessly swoop from raw pop anthems to lo-fi dance songs.

Taking to the stage in their now trademark masks, cloaked by self-made video projections IS TROPICAL are one of the most exciting and mysterious bands in the country. Spontaneous, unindulgent, and instinctively inventive. IS TROPICAL will be playing the following dates in November and December, more live dates to be announced.

LIVE DATES:

NOV 25TH - THE MACBETH - LONDON

NOV 27TH - GOLDSMITH UNIVERSITY- LONDON

DEC 12TH - CARNIVALE (WHITECHAPEL) - LONDON

DEC 15TH - THE LEGION - LONDON

www.hitclubhq.com www.myspace.com/istropical

Flaming Lips-Birmingham Academy 17/11/09

2009-11-20T12:06:00.004Z

What can I say about the Flaming Lips live experience that hasn't been said before? the band put on the most spectacular live show period. Imagine a huge party featuring giant balloons, confetti, streamers, a man in a huge space bubble, dancing yetis, a stunning light show and the most incredible indie psych pop soundtrack and you're somewhere close to understanding a Lips gig.

Master of ceremony Wayne Coyne begins the show by walking over the top of the assembled masses in a space bubble whilst the rest of the band burst through the screen at the back of the stage. As soon as Wayne hits the stage balloons are launched into the audience, confetti is shot from cannons and streamers are fired out by the head honcho as the band proceed to create a stunning combination of pop, rock and heavy psychedelica as they perform a set littered with old favourites and newbies taken from their delicious latest opus Embryonic.

The audience lap up every morsel offered by the band whether it's the mass sing-a-longs of She Don't Use Jelly, Yoshimi and The Yeah Yeah Song or album favourites such as Flight Test and Convinced Of The Hex. Whilst the band proceed through their set they're joined on stage by both inflatable animals and dancing yetis and as each song begins Wayne Coyne whips the audience into an even greater frenzy, finishing on a rousing, mass sing-a-long of Do You Realize, that's hollered from every corner of the Academy.

The Flaming Lips are quite unlike any other band, no one else is bringing psychedelic sounds to the masses, no other band offer up such a party atmosphere and no other band leave an audience beaming from ear to ear.

Personally I've now seen the band three times and each one of those performances would be in my top ten favourite gigs of all time, The Flaming Lips really are that damn special.

Rhythm & Booze Rating 10

www.flaminglips.com

Nell Bryden with support from Tom Hickox Live @ he Roundhouse, Camden Lock. September 9th 2009

2009-09-15T16:19:00.005+01:00

Nell Bryden with support from Tom Hickox.

Previous readers of my reviews (are there any out there) will know my penchant for soulful female singers, and it pleases me no end to see Imelda May being recognised on and in the media of late. I am sure there is much more to come though it has taken sessions on Radio 2 and with Jooles Holland for the greater public ear to appreciate her qualities.

Radio 2 was also instrumental in my visit ( along with my better half, at least that is what she tells me) to Camden. Said BBC2 had been airing Nell's single release 'What Does It Take', a song that rocks along at a pace with great rhythm and vocals for an all too short sub 2 minutes. Finding her web site, www.nellbryden.com I looked for any tour dates, only seeing a Leeds listing, I stabbed around my usual suspects to see if any other gigs were forthcoming from Imelda and like. I stumbled on Nell at The Roundhouse, and ordered tickets.

Meanwhile I searched in vain for any album currently available in the UK. Again it was luck that drew me to her CD of the single title, from an American source. I ordered and waited. What arrived was an album of some country and western influence with shades of bluegrass, a bit of skiffle and a smidgen of rock. Overall I liked it, as did Hel (the wife), we awaited the lengthy outing to Camden, with a degree of confidence.

The Studio at The Roundhouse is not a big auditorium, holding around 120 seated with a reasonable stage area. In pole position we settled into what should give us clear views and good rounded sound. ( Hel says I'm an 'A' type, whatever that is, its something to do with supermarket checkouts I think)

Tom Hickox, www.tomhickox.com, To us a totally unknown quantity, but on stage walked a smartly suited slightly shaggy performer who settled behind his electric piano, and opened with Tinnitus, no that wasn't the condition but his dark opening dirge.
Now I have to say his voice has a certain quality, a deep baritone with edge, a cross between Scott walker and Nick Cave. His lyrics were more a narrative, different but it was the first song.

There followed a string of equally dark tales of anti-war, politic mistakes and mistaken dreams. All very serious, current critics of the world we find ourselves in today; The problem for us is that Tom's performance was deeply dark throughout, with an odd attempted upbeat song Guantalemo (is that the right spelling?)Tango, it didn't work for me personally. We both looked at each other in a vain attempt to find a spark of light in the bleak lyrics surrounding us. Tom's songs are carefully crafted stories, and the world is indeed a serious place, but that has always been the case, we just didn't have instant reportage of today.

Possibly I am a little naïve but shouldn't music be there to lift our gloom and give us a little pleasure? Tom must certainly be a unique artist, and I am sure he will find a niche for his style of song, but it was not something we would look for.

Nell Bryden,

Well this is why we had taken a 280 mile round trip, onto stage stepped Nell and her 3 man band. Now this was already going to be a notable difference from the album, no fiddles, no banjo, no organ, and whatever other instruments my ears have yet to detect. Nell carries her acoustic guitar, accompanied by a lead and bass with drums to the rear. The difference is more rock and roll and a little less country in delivery.

Nell starts with 'Tonight' a distinctly country flavoured song, but that bass and heavier drum are significant. Right from the off, her voice dominates the room, melodic and full powered, singing into a rose adorned mike..
There is connection with the audience, a joke, an anecdotal tale from her roots in the USA, a link to her next song. This is the little bit extra that many do not quite achieve, it certainly adds to the session, Nell has that quality, an intimacy that sits well with the smaller venue. She moves effortlessly into 'Only Life I Know', followed by the rather sad but beautiful, 'Helen's Requiem', a memorial to a lost friend.

'Where The pavement Ends' is a poignant nod to life in small town Massachusetts.

Pretty well a run through her forthcoming album 'What Does It Take', but as noted, with a distinctly more rock style. For good measure there was the Curtis Mayfield song 'People Get ready', sang with panache.

'Second Time Around', will be the second single from the album, a full on blues rock song that races along in a style not dissimilar to the aforementioned Imelda may.

Nell's album has elements of country, bluegrass, rock and soulful ballads. As previously inferred, instrumentation has tweaked the style of delivery away from from the country feel of a good part of the album.
Contrary to usual trends in our musical taste ( particularly mine) it has been very easy to latch onto this album. Nell's performance on stage has been brilliant in every sense. An excellent stage presence, faultless delivery with a voice that has qualities that remind me of Beth Rowley. We seem to be blessed with a growing throng of female singer/songwriters at present, Nell is up there with the best, I look forward to a full UK tour, maybe to places a little nearer to home!

Now to the final curtain, deserving of a special mention. Nell returned to stage to perform a superb solo of Robert Johnson's 'Hell Hound On My Trail', simply great.
I thoroughly recommend giving the album a try when released, but better still, keep a look out for a tour and go and see her, you will probably find us there as well!

A final comment on the contrast of the two performances tonight, regardless of musical taste, anyone entering stage will win the audience over if there is some empathy between artist and the ticket buying public. There was a stark contrast tonight, not just material but that all important connection.

Written By Graham Munn

Worcester Music Festival 21-23st August

2009-08-25T12:20:00.004+01:00

Worcester Music Festival

So it's been a little busy here art the Rhythm & Booze offices just recently, we've had the regular down pour of CDs flood through the door, we've made our annual pilgrimage to Leicester for Summer Sundae and last week we've been out andf about in Worcester taking in the sights and sounds of the second Worcester Music Festival.

Now due to my day job I've not really been able to take in as much of the festival as I would have liked, whilst I was hard toiling away earning my daily bread, bands littered the many venues plying their wares to the early drinkers and dedicated music fans across the city. And even after work I would have had to have split myself into a multitude of pieces to cram in all the intriguing sets over the weekend, but I did catch was pretty damn impressive and a number of people have told me of impressive gigs throughout the three-day duration.

Now before I briefly tell you about the band's I paid witness to I would just like to throw a massive shout out to those festival organizers for providing this city the sound of music and a forum of release for those many frustrated bands and musicians out there, as a music fan I hope this may long continue, I know how much time and dedication putting on one gig takes let alone an entire festival, so congratulations on a tremendous weekend of entertainment.

Right onto the sights and sounds, for me after much deliberation there really was one option of venue, the crown jewel of Worcester music The Marrs Bar. On Friday night local radio station Hereford & Worcester took over the venue as part of their Friday Night Sessions program and offered up a whole plethora of bands.

Highlights included the punky indie pop of Mudball, who delivered a set chock full of infectious three-minute anthems and contagious choruses, the majestic folk of Anna Rice and the ever impressive indie pop outfit Sideways Glance, who delivered a brief four-track set including the wonderful Easier and tongue-in-cheek Smirnoff Ice. Nigel Clark of Dodgy fame brought a fantastic night of music to an end with a set featuring a number of former chart hits and Dodgy favourites.

Saturday I was back at The Marrs Bar with something of a nostalgic tear in my eye, for tonight saw the final gigs by both ska-boppers The Donns and splatter-pop heroes And What Will Be Left Of Them?both bands finished on eurphoric highs, The Donns delivered a set full of bouncy sing-along classics whilst Awwblot? had come to party and party they did, wheeling out all the classics and propelling the audience to their feet with their energetic set. Strangely though the highlights of the night were provided by the stunning Mr Bones And The Dreamers, a band that weld folk, Nick Cave, Morrisey, Broken Records and Arcade Fire into an incredible cacophony of noise that soars and swoops effortlessly.

According to various reports I've heard the likes of Wes Dance, Ragtime Ewan and Mike Skilbeck put in dazzling performances over the weekend and I'm sure there were plenty more highlights across the city. And so it would be hard for me to give a rating for individual bands, but as a festival as a whole this has been a triumph from start to finish.

Rhythm & Booze rating 10

Elbow

2009-08-06T12:36:00.001+01:00

Date: 15/10/2008
Venue: Wolverhampton Civic Hall

Unbelievably our first visit to the civic for a band, following a last minute bun fight, tickets had been grappled from the grasping paws of the would be touts, and handed to us telephoneticaly by a friendly Wanderer.
Avoiding the local street life, offering a quick profit from said tickets, we slipped through the doors comfortably in time and wedged ourselves back against the control bridge.
The room filled out, but not to bursting, as Guy Garvey entered stage to introduce the support act. On came a diminutive Jesca Hoop, robed as a medieval extra with a grudge against Merlin.
Plucking her throttled guitar she launched into a Bjork does folk style of song. Overlong songs none of which were memorable and all with suitably twee subject matter; slowly lost the audience. No cutting edge stuff here, despite being accompanied by an Elbow backing singer/violinist and even Garvey for one song. To be honest, Jesca’s music was not to our taste, though she would probably do well in a smaller venue and an audience of folk aficionados.
The crowd politely listened, but background noise grew as she tweetered on to her finale, to receive an encouraging supportive applause.
The bar disgorged into the hall, and what had been a comfortable position, ‘propped’ by the coral behind, slowly felt like sinking into a valley, as the tallest drinkers in the house filled out the gaps in front of us.
It always happens; neither of us are midgets, and there were some to our side who possibly could have auditioned for a part with Snow White.
I’m thinking, those lighting gantries look very comfy.
Walking on to a roar from a full house with no elbow room came the mighty Elbow, complete with complimentary string section, 3 violins and a cello.
There was a slow feed into ‘Starlings’, and as the crescendo hit in powered by assorted trumpets and horns, the lighting radiators sliced into the audience. A stunning start to what was an anthemic show.
‘The Bones of You’ and ‘Mirrorball’ followed, winding up to the fabulous ‘Grounds For Divorce’, ‘there’s a Chinese cigarette case, and the rest you can keep’; fantastic quirky lyrics, quite valleys and sweeping escarpments. Bloody great and the crowd loved it.
[I have to say at this point, this is the track, back in March that was being touted by Radcliffe and Maconie on the Beeb; that caught my attention. causing me to scribble down the title and mentally order the forthcoming album. All this whilst Hel’ was driving home from toil, listening to the same prog. And, noting the label, arriving home to see my scribble. The cast was set, we were ‘sold’ on Grounds For Divorce]
Back to the show. Checking on the presence of any Warrista’s, a Mexican Stand Off was played out. Guy crooned through ‘Weather To Fly’, and on to ‘One Day Like This’, firing a canister of chaff to float through the air like a thousand firefly’s. This was the real thing, his vocals much more melodic and smooth than on the digital disc.
His rapport with the masses was the relaxed chat and humour to be found in any pub with a pint to hand. A quick straw poll and vote on the form the de-rigour en-core would take; resulted in the band agreeing to return to the chants of ‘everybody was kung foo fighting’.
Elbow left stage, the usual calls for more ebbed away to the slow rise of everybody was kung…………etc. The pre-arranged signal acknowledged, Elbow were nudged back onto the stage. Garvey launched ‘Some Riot’, and he held the masses in his outstretched hand to the last second on stage. An appreciative sell out house, and Elbow reciprocated, with an apparent reluctance to leave the stage. A great evening, but don’t go looking for tickets for this tour; it’s a sell out. The Mercury award is well deserved, after some close calls on previous years. The bands rise in popularity has not been mercurial; they have done their apprenticeship and have won a sound following, with their diverse style and poetic lyrics on modern life.
Just as an aside, it was good to see Mark Potter giving the roadies something to do; I have never seen so many changes of guitar, during and between songs. Some good pulsating drum & bass work from Richard Jupp and Pete Turner. Better quickly mention Craig on keyboards too, who looks after production and mixing on ‘Seldom Seen Kid’.
They may not have the appearance of rock idols, with prima-dona persona to match; they come across as a genuine down to earth band. Thank your God for that.
Give yourself some elbow room, let’s see more of this band, come on Jools, and get them back on your show.
Rating: 9

Grace Jones @ Symphony Hall, Birmingham

2009-01-24T13:35:00.000Z

Date: 19/01/2009
Venue: Symphony Hall, Birmingham
Website: http://www.thsh.co.uk
This was going to be a great night out; we were on our way to see the outrageous Russell Hearty attack machine, Grace Jones.

Having just released the first album in ……years, Grace is on tour, blowing across the country like a Hurricane.
Our first visit to Symphony Hall, a great venue, with excellent acoustics and viewpoints, but what also became very apparent, Grace has a very strong following within the gay community.

We found our seats, just in front of the control platform, and settled down to see the support band, ‘Trybez’, who opened with a the enigmatic sounds of the didgeridoo, exploding into a ‘rap’, in what appeared to be Hispanic. Interesting! A 5 piece band that started with acoustic guitar, keyboard, drums, said didgeridoo, and rap vocalist

With a piece called ‘Money’.
The ‘band’, then settled into beats and rhythms produced by machine, with only the drummer working his instrument; The four remaining ‘artists’, shouting out there message of Peace in The World. Billed as an International Hip Hop Soul Rap band, I cannot say I found much soul, but there was rap a plenty. Finishing with, So cool ‘So Hot’, probably the best of an indifferent set. Cool and hot, they’re possibly not! A non stop rant, a personal opinion perhaps, but the intermission was a welcome respite.

www.trybezmusic.com

A veiled curtain covers the stage, a visible red and white light can be seen ascending behind the screen, a base rhythm is pulsing out, smoke machine are belching out there fog, the sound emerges we are ‘Night Clubbing’ as Grace is revealed atop of a scissor lift platform, complete with skull cap helmet and feather speared plume with lights inset, and a body hugging leotard. Iggy Pop was never quite like this, Nightclubbing with an extra big helping of funk.

Grace exits left, this is to become standard throughout her performance, still singing and chatting via her radio mike as she changes style between every song.

First off the new Hurricane CD, ‘This is’, with jade coloured dimetrodon comb on her head. (like a bladed Spartan helmet). Next came a bright yellow feather edged wrap accompanied by a yellow Stetson with what had the appearance of a large sink plunger mounted on top.

A shrouded Grace sang ‘Sunset Sunrise’ and threatened to ‘jump on your face for fun’. We jumped back to a previous era, and in a long ‘desert’ veil with illuminated devil horns adorning her head, Grace gave us the Piazola inspired Argentine tango, ‘Strange’, no it isn't, it is superb.

A glitter gold ‘Love You to Life’, brought us to ‘La Vie En Rose’ sat astride a fan from the front row, she was paraded around the auditorium in a gold topper and tailed jacket, like a ring master.

‘William’s Blood’, dedicated to her father, was delivered, complete with giant 24” yellow quaver perched on her head.
I could go on, but this is not a fashion mag. Suffice to say, horns, cloaks, and skullcaps featured throughout the show, and it was a fantastic performance, from tick-a-tape shouldered parades; to pulling the audience on stage and getting up close to her fans.

The audience had risen part way into the show, and remained there, swaying and dancing between the rows of seats. The ‘tour de force’ was probably ‘ Dance To The Rhythm’, complete with gold lioness mask, and gyrating a cerise stripped hula hoop round her hips from start to finish, maybe a ten minute performance. We had already been treated to old favourites like ‘Pull up to the Bumper’, and ‘Love is The Drug’. Reggae styled songs like ‘Well Well Well’ and ‘Sunset Sunrise’, also reflect much of Grace’s previous music

We finished with the thunderous ‘Hurricane’, title track from the album, performed in silver cloak and windswept headscarf, into a blast of air from a huge 6 foot diameter fan.

We had gone to see Grace Jones perform, it was a fantastic show, not just musically but visually, Grace is an iconic phenomenon. The tour launches her new album ‘Hurricane’, some 20 years plus, since her previous albums. A stunning artist, who belies her years, she is just shy of 60, in every respect imaginable.

‘Love is the Drug’, from Roxy Music, was adopted by Grace, and I would argue, never bettered. Her take on ‘Nightclubbing’, seems entirely fitting to Grace’s image and presentation, a great opener for the show. The current album is self penned as was much of her previous material; you will find elements of Latin, African, reggae, funky soul and hypnotic rthyms, the album is excellent, but you will have to get it to find out.

The show at Symphony Hall was start to finish, a wonderful experience, a real performance which few could aspire to. Her band, masked in the shadows of the stage delivered the pulsating sounds to perfection Grace is an often overlooked but talented, influential artist; that is the nub of it, she is a true artist who lives her life to the unconventional full. The world needs more Grace Jones in this sterilised, politically corrected environ that we have engineered.

www.theworldofgracejones.com

Rating: 9

Imelda May @ The GLEE Club

2008-12-19T11:34:00.001Z

Date: 14/12/2008
Venue: The Glee Club, Birmingham

First, I make no bones about being a fan of Imelda May, her style and music, but I will endeavour to be as objective as possible, and tend to balance performance against other recently attended shows (that’s gigs in the modern vernacular!)

I will begin with the support band, ‘The Toy Hearts’, a Bluegrass band, of 4 artists on the night. A Dad, two daughters and a niece. Stewart, Sophia and Hannah Johnson, and Lauren Rogers. Hannah (with Uke) fronts the vocals, Sophia, acoustic guitar, Lauren, double bass & some very nice banjo picking from Stewart.

The band launches straight in with ‘Stronger’, a lively bluegrass style with the first hints of what to expect from Stewart. We heard about ‘A Girl In Each State’, a more folk rock styled, ‘Given About Your Troubles’ and a bluesy ‘Carolina’. This song I particularly liked. The first few pieces I felt could have benefited from more feel from Lauren’s double bass, but this was the point where she seemed to settle and give a bit more. Out came the bow and a deep, haunting, reverberating foundation to the song was laid. Sophia showed touches of class, mirrored in the Jango Rhinehart homage, ‘Montpelier Street’. The whole set was ended with ‘Train Gang’ and album title track ‘When I Cut Loose’, a fast paced energetic piece showcasing the bands ability.

Overall a very entertaining band, based locally in Moseley and Kings Heath, Birmingham, it should be easy to find them playing in the area. You will not be disappointed, the Johnson sisters have an easy rapport with the audience, and they deliver a bluegrass in style.

They have 2 albums out, the debut ‘If The Blues Come Calling’ and ‘When I Cut Loose’, I am not a bluegrass fan, but I would certainly give them a try, there may be some pleasant surprises.

www.thetoyhearts.co.uk , www.myspace.com/thetoyhearts

A final point, Toyhearts are the best support act heard in the past 6 months, and that includes gigs by Elbow, and Zutons, where the warm ups were tepid and forgettable. (personal opinion)

And on to the main attraction, Imelda May, and an initial disappointment. The stage had already been laid out in the background of Toyhearts set, and there was no keyboard, where was Danny MCormack? How could Imelda perform without the superb touches of Danny’s piano?

It transpired that other changes had been made, gone was drummer Dean Beresford, the new line up composes of Darrell Higham, Guitar; Dave Priseman, Trumpet; Steve Rushden, Drums; and of course Al Gare on Double Bass.

Imelda is a great performer in every sense, she gives 100% and then some, at one with the audience, the intimate atmosphere of the Glee suits her, and you feel a genuine delight at being back at this venue. The band launched into ‘Feel Me’, on full throttle, there is no testing the water, this is a full dive with double tuck and pike, brilliant. A bit of ‘My Babe’ cant stand no cheatin, and the current CD title track ‘Love Tattoo’, followed with a superb ‘The Blues Keep On Calling’, with Dave Priseman’s trumpet to the fore. ‘Smotherin Me’ featured fine guitar from Darrell and that trumpet of Dave’s again. Imelda throughout giving all. ‘Big Bad Handsome Man’ was full on fantastic.

I could comment on every piece, and give a full song list, there is no point, start to finish was superb . Bits from Patsy Kline, some rockabilly, skiffle, and a couple of ‘new’ tunes; ‘Physco’ and ‘Mayhem’ both hard on rocky numbers.

Outstanding Double Bass from Al on ‘Smokers Song’; with pulsating drum, high muted trumpet and blues guitar.
The wonderful ‘Johnny got a Boom Boom’, which on CD cannot match the live performance.

Imelda can do no wrong for me, she shows tremendous energy from start to finish, the show is full on throughout, the band are excellent, though I do miss that piano, there are some songs where a guitar, no matter how deft is not a replacement. (I am an opinionated so & so!)

The audience is part of Imelda’s show, she feeds off them, but gives back in ‘spadefulls’. Most of the songs were penned by Imelda herself, the CD, Love Tattoo, should be in everyone’s collection; it is that good.

It was an interesting comparison between Al Gare’s bass, and that of Lauren Rogers. Lauren comes over as a competent player slowly getting into her stride as the performance moves on. Al has the confidence and stage skills of an old hand, always good to watch and hear in any band he features in. Dave Priseman’s trumpet is superb and certainly adds to the show, Darrell’s Guitar features strongly throughout, and replaces much of the keyboard element evident on the album. Steve Rushden’s drum solo showed why he is called ‘Animal’, a great demo of sticking it to the audience.

Imelda May returns to The Glee in March? In the large lounge, I will be there, along with my good lady, and whoever else crams into the car, there are plenty of new fans vying for space.

www.imeldamay.com
www.myspace.com/imeldamay1

You may have spotted a previous review for Gotan Project, and in my opinion, the lack of connection to the audience, I know this is a totally different form of venue and show, but they could certainly learn about connection from Imelda May.

Rating: 9

Iglu & Hartly @ Birmingham Academy 2

2008-12-14T13:32:00.000Z

Date: 8/12/08
Venue: Birmingham Academy
Website: http://www.birmingham-academy.co.uk

If I'm honest I'd have to say that Iglu & Hartly wouldn't be too high on must see bands, in fact If it wasn't for a good friend of mine, I probably would have been sat at home cozying up with a hot mug of coffee and a blazing fire, instead of braving the winter streets of Birmingham and the pop-obsesssed kids.

Saying all that I love the recent chart smash "In This City", sure it's probably going to turn out to be a one it wonder, but it's fun, fresh and bouncy, one of those songs that manages to weld itself to the back of your brain and clings on like a limpit.

So I decided to go with an open mind and judge the band on their performance rather than walking in with any expectations.

After a couple of support bands and a number of beers the band talk to stage to mass applause and moist knickers from the youthful crowd. Iglu & Hartly set about wowing the audience with their energetic blend of hip-pop and indie guitars.

Band fed off the excitement of their adoring masses and delivered a smooth set of infectious raps and catchy riffs.

To my ears a great deal of their material sounded a little too samey, if you'd heard one track, you'd heard them all. But whether it was the drink or the band I found myself happily bouncing along.

Iglu & Hartly are not a band for the brain, they're a band for the feet, you can't help but move to the beat and nod happily along. Sure it's throwaway pop but it is fun and contagious and sometimes that's all you need.
www.igluandhartly.com

Rating: 7

GOTAN PROJECT @ The Roundhouse, Camden

2008-12-11T13:33:00.001Z

Date: 11/12/08
Venue: The Roundhouse, Camden
You may have seen my previous review on Gotan Project, live in Brussels. They are an impressive, mixed nationality, electro-tango band, playing Argentinian Tango style music with a touch of French style.

They have featured on Jools Holland and have charted occasionally, but are subconsciously more memorable from accompanying various TV advertising campaigns.
If you enter into there world of eclectic music, you will be hypnotized by the sounds and rhythm of there compositions.

Live tours are rare, and even rarer in the UK, generally one night in a year to 18 months. A date was announced at The Roundhouse, and without hesitation I booked a pair of tickets.

The Roundhouse is a memorable venue; a Victorian engine turning and standing building. (Trains that is) One time Gin Distillery and venue for concerts throughout the 60’s and 70’s, Hendrix played there, what more can be said. The building has undergone serious renovation, with additional bars and rooms annexed on. From the outside, a capped round brick biscuit barrel of a building, from the inside, a superb example of a Victorian industrial edifice. A low conical wooden roof, sat on rings of steel and timber, supported by cast iron columns. Wonderful.

No support, the band were scheduled on stage at 20.30, and lo it came to pass, the lights dimmed and music filled the air. The stage slowly illuminated to reveal a translucent screen, behind which, milky images of the band were just visible. Projected video images of a loving couple (not porn) filled the huge screen. The band played on, an interesting art-house start to the show?

All well and good, but…….the screen stayed for about half an hour or more, we saw tango dancers, fields of straw, and beautiful girls to a sound track of beguiling music. Even the eloquent vocals were pointlessly masked from us.

Eventually the screen was lowered and images were transferred to a backdrop a-la previously seen in Brussels, a nice touch then and now, sadly depleted by overcooking the previous front projection.

Perhaps, in my opinion too clever and arty for its own good.

This brings me to the point that musically Gotan Project are superb, the musicianship is excellent, strings a plenty, grand piano, bando & classic guitar, mixed with techno wizardry. The setting was for me, magnificent, I could search the intricacies of the architecture, whilst being drowned in beautiful sounds, but………the performance is sterile, there is no connection with the audience, you don’t need the band there at all, just a CD, a video projector and loud PA.

I am sure much of the audience enjoyed the whole theatre, the encore was enthusiastic and unrelenting, but it was theatre without an act.

There is another electro-tango band of stature called Bajofondo Tango Club, we saw them earlier in the year (see review) the show was electric, it had a raw edge and full on engagement. The audience went wild and the band reciprocated in giving everything. Gotan Project should have been there, they produce great music, they need to perform it, not just play it.

A final shot; during the show the band were intermittently fronted by a couple tango dancing, the best dance they managed, with obvious passion was the finale, Grace Jones ‘Strange’. Perhaps Vincent & Flavia (BBC) should have been invited on, they at least would have given a spectacular performance.

Would I buy tickets & travel 270 miles round trip, to see Gotan Project again, unlikely. I might take there CD’s ‘Le Revancha Del Tango’ and ‘Lunatico’, a loud amp, and sit in the middle of the Roundhouse and enjoy the architecture.

Rating: 7

The Chemists @ Edinburgh Picturehouse

2008-12-08T13:31:00.000Z

Date: 28/10/2008
Venue: Edinburgh Picturehouse
It was a tour that could never evade the sardonic eye; ‘The Chemists are supporting The Music’. Although this may well be the first time that the two bands have worked together, it is certainly not the first time that the chemists have supported the music. From Dylan to Doherty; it is no secret that the work of chemist’s has provided endless support, although we’re talking strictly pharmaceutical. This event however, was far from cosmetic. Having been left on a high from their amazing nine song set, I am in no doubt that whatever musical medicine these Chemists are concocting, it’s explosive and addictive. I am warning; approach with protective goggles and great expectations.

I had been told to expect a well honed Indie band of great potential, but from the moment ‘Tazmanian Devil’ stormed on to the stage, it became clear they were worthy of a much greater title. What separates the band from your generic indie piece? A dirtier guitar, a cleaner vocal; the hint we detect of metal, the subtle hint of pop. It’s confusing, and its genius.

As the set stormed through, I suddenly became rather reflective, as one tends to do when surrounded by hundreds of strangers, cider and black in hand. The lyrics of vocalist Johnny Benn, never faltering a note and with incredible conviction resonated through to my subconscious. ‘The sounds are the same as the bands come again, as they pound and pound on that radio booth’. You would certainly be forgiven for thinking that the songs you were stood listening to as you embarrassingly sway along were not far from what their very lyrics describe. Having seen them performed live however, I can happily report, there is a great difference. The difference being, the music does not simply pound and pound through the crowd, it pulses through. The band have developed quite a reputation for putting on a live show, and with good reason. At times they were electric.

The frantic speed at which guitarists Sam James and Dave Betts play was enough to leave any audience member in awe at the sheer force of their performance. Kept to perfect beat by drummer Matt Albon and perfectly complimented by bassist Wayne Jones, every note was played with the passion of a powerful performance. This may sound a little cheesy, but sometimes only alliteration can describe how intricately and inspiringly an instrument can be played. When alliteration strikes twice in a single paragraph, trust me, they’re good.

A highlight of the evening I hear you cry? Three tracks in, ‘Hear our Song’, floored the crowd. If you do manage to catch the remainder of the tour, I can only urge you to listen to the somewhat commanding title, and please do, hear their song. From the moment the guitar struck, the performance was incredible. I sat in awe, watching four minutes of outstanding vocals, perfect drumming, and terrific energy.

Nine songs later, the band took their final bow. Certainly, the set had its glitches; a six foot neon sign emblazoned with the bands very name nigh on collapsing upon the poor, unsuspecting bassist being one of the more generic problems I imagine bands face all the time. Overall, I would thoroughly recommend catching this band before they explode on to the mainstream. If I were to summarise my evening spent listening to the chemists at the glorious Edinburgh Picture House; a band with amazing energy and performance skills, and what are chemists without chemistry?

Rating: 8

Imelda May @ Glee Club

2008-11-22T13:30:00.001Z

Date: 15/07/2008
Venue: The Glee Club, Birmingham

The Band;

Vocals, Imelda May; Keyboard, Danny McCormick; Drums, Dean Beresford; D/bass, Al Gare; Guitar, Darrel Higham; Occasional Brass & misc. Dave Priseman.

A true pro band, you couldn’t ask for finer musicianship and empathetic interaction. Danny, Dean and Al, I have seen many times, from their days with King Pleasure, as a jazz trio and in support of some fine vocalists, they are regulars at the Upton Blues Fest in some guise or other and have never been upstaged. At the Glee Club there was additional talent in the form of Guitarist Darrel and trumpeting his talent, Dave.

All this and more, because fronting the band was the fabulous Imelda May.

What can I say to do justice to this Irish lasses voice and presence; she holds her audience by the scruff of the throat, reaches down and tears out your heart.

Opening with ‘Voodoo Working’, you just knew you were in for a good night. Next came a bluesy ‘Smothering Me Baby’, dropping in to a wonderfully haunting ‘ Knock 1 2 3’, superb vocals, lovely ‘soft’ drums and Danny showing what a set of ivories can do.

Dave bought his trumpet to bear on ‘Why Don’t You Do Right, and that’s not to overlook some very nice finger work from Darrel on his Guitar.

Imelda’s song writing talents were in evidence throughout, but there were also songs from Patsy Kline and James Brown.

This little lady lives and breathes the music, whether, Blues Jazz or Rockabilly. A great rapport with her audience, Imelda and the band could have played all night; nobody would have moved, they were riveted

We were teased with the possibility of a CD by autumn, I for one can’t wait to give it a spin, how can it not be great. Meanwhile, I will settle for the next live show. Sadly she is not listed at Upton Blues 2007, many will miss her wonderful vocals. (She looks pretty good too!)

‘She’s a rockin little minx, tough, sassy, sexy, classy, a big voice on a fine tiny frame’,

That’s what her site claims, and I wouldn’t argue with that for a second, but lets not overlook the band, you will be hard pushed to find better.

Rating: 10

Cara Dillon

2008-10-20T11:39:00.000+01:00

Date: 09/10/2008
Venue: Warrington; Parr Hall
Website: http://www.caradillon.co.uk

Frills free, acoustic and light percussion pairing, The Lost Boys are initially timid as they seek to harness the intimacy and the consistently good acoustics of this homely hall. Despite the boldness of its title, opener ‘Jesus Drives A Rolls Royce’, lacks consistency between the subtle percussion, the blues leaning folk based vocals and the slow winding acoustic guitar. The communication of the ambitious lyrics needs body behind it. Despite clear, yet searching vocal delivery, the song needed to be fattened out, as it creates a lonely slightly limp echo. A slow building up of the tempo and a bluesy hue embellishes ‘Mr Broke’, emboldening an earnest set and a more robust instrumental element helps the bracing ‘Tapestry’, find favour.
A judgement reserving crowd starts to show more appreciation when the percussion takes on little more life towards the conclusion, complementing the vocals. Continuing in this vein will help The Lost Boys find new followers, but in brief sets they need start capturing an audience’s attention from the start.
A whistling flute inclusive backing band of three routinely comes into view waiting loyally for the understated entrance of Cara Dillon, who is one of Ireland’s most universal folk protagonists. It is almost as though Cara is too humbled at receiving applause for merely entering the stage. However, she graciously accepts it after her rootsy, clearly projected beginning that includes a snippet from next year’s 4th album, in the form of ‘Johnny Love Johnny’ that shows a continuing playfulness in her work.
The leading lady’s ability to switch tone and emotion sets off a range of facial expressions from the audience that is drawn from a wide demographic. Going from intrigued, to contented, empathetic and then illuminated, as quickly as Lewis Hamilton goes through the gears at Silverstone. ‘Black Is Colour’, bears out a deeper and darker lyrical edge and a deeper tone contrasts with the usual clear, well-pitched vocal stroll. A plea for audience participation for a comforting reworking of the Tommy Sands classic ‘There Were Roses’, is met with an initially nervous response. It soon grows into a warm choral recital as the tone, hymn-like nature and friendliness of the number builds up.
Pastoral Irish imagery decoratively litters the set. A Gaelic jig, ‘Knotted Hanky’ sees Cara’s fiddling prowess coming to the fore. Throughout the seventy five minutes in view, she demonstrates an appreciation of her home country without ramming it down the throat of the audience. Endearing between song storytelling, promotes a genuine feel to proceedings and the inter-song chemistry between Cara and her husband/guitarist/pianist and tour manager, Sam Lakeman draws out warmth and heart. Enough to make people forget about the strange smell that is lingering around the venue, probably leftover from The Charlatans visit here three nights earlier.
A colourful, almost Riverdance inspiring parade, ‘P Is For Paddy’ has minds dancing at least, as the wholly seated setting prohibits much physical movement. Although, chairs do start sway, even those on which the stern looking connoisseurs are placed. The lady who has been blessed with the honour of broadening modern folk’s appeal, whilst at the same time, appreciating its roots and traditions, continues to carry out this honour with enthusiasm and humility.
Rating: 8