Category Archives: Gig Reviews

The Quireboys: Yardbirds Grimsby – live review

The Quireboys don’t do subtle. What they do is full on in your face rock and roll and they do it bloody well. Their reputation as a live band is second to none but they’ve also released a couple of well received albums in the last couple of years with White Trash Blues, a collection of standards from the repertoire of the likes of Chuck Berry and John Lee Hooker being a particular favourite in our house.

They’re regular visitors to Grimsby and their set at The Yardbirds opens with one of my personal favourites – Too Much Of A Good Thing, from 2013’s Beautiful Curse which sets the scene for the evening, plenty of classics, a few new ones and surprisingly few from White Trash, considering that this is listed as the album’s European Tour. It doesn’t matter too much though because the truth is that The Quireboys haven’t changed their sound a whole lot over the past thirty or so years and songs from their 1990 debut A Bit Of What You Fancy sit seamlessly alongside more recent material and it all sounds like it was ripped by main force from the 1970s heyday of British rock.

Quireboys 013

This is timeless music. If you were determined to be mardy about it you could say that they’re a band who haven’t developed much in three decades but you could also say that if you’re that good at what you do why change things around?

Spike is on fine form, the celebrated soft rock rasp is as good as ever and we are reminded early on that we are in the presence of one of the all time great microphone stand jugglers but what’s a little bit of false ceiling damage among friends? It’ll fix easy enough. He’s a force of nature, roaming the stage, playing the crowd, dancing on his own or with the band, bandannaed as always, the piratical effect accentuated by a long scarf and one velcro sea boot. Curiously enough the last time I photographed The Quireboys he had a broken leg as well, on that occasion caused by a heavy tackle in a game of football (that’s soccer to some of you) against giants of British metal, Saxon.

Quireboys 004

He’s not the only one set for a good time – the whole band look like they’re ready for a party. Guy Griffin’s guitar is the perfect foil as always, particularly on Going Down and This Is Rock And Roll which feels like a stadium filler in need of a stadium and sets the walls and furniture buzzing. They’re the just the band for a proper dark and sweaty rock club like the Yardbirds. Highlights include a raucous 7 O’Clock and I Don’t Love You Any More (obviously) but also a gorgeously sleazy cover of Slim Harpo’s King Bee, with Keith Weir’s honky tonk piano a driving force and Sleepy John Estes’ Leavin’ Trunk.

They round things up with Sweet Mary Ann and Sex Party which is about as good a singalong finale as you could wish for and we’ll be keeping an eye on the website to check that they’re making their annual visit again next year.

 

Advertisements

The Vive Le Rock Awards 2018

It’s Wednesday, March 28th and the great and good of the classic era of punk and new wave gather for a night of celebration at the inaugural Vive Le Rock Awards. The O2 Islington is the place – a 1980s brown brick purpose built venue at the back of a shopping centre just to the north of The Angel. (That’s one of the blue ones on the first quarter if the Monopoly board if you’re a traditionalist like me. None of them new fangled localist boards in my house). Tonight there are 300 carefully invited guests and 200 paying punters and the squeeze is on for an evening filled with the sound of working class people getting uppitty, celebrating the old times and getting royally smashed.

It’s one of those nights that makes you pause for a moment for a ponder about the state of the music magazine industry. Looking along the shelves in your local newsagents is not always a pretty sight these days. It’s a case of turning up with your cash and hoping your favourite read is still on the go. Seems like a big name crashes every couple of months or merges to pursue economies of scale or goes 51% up for sale.

VLR Awards 030

It’s the internet wot dun it of course. The print market is tough, we know that but there’s still a thriving market for niche titles that do just what they say on the tin and among those Vive Le Rock is one of the market leaders.

Founded in 2010 by the good people at Big Cheese and having recently reached its fiftieth issue, Vive is the go to publication for British fans of rebel music, whether from the past or the present day. From Gene Vincent to The Ramones, Motorhead and The Pistols to The Gaslight Anthem or White Lies or Rancid. If it used to get up your grandma’s nose back in the day or if it pisses off your kids now then it’s probably grist to the Vive Le Rock mill.

The design and content of the mag pay homage to the days of the classic fanzine so that despite all the corporate necessities that go with publishing in the twenty first century it still manages to be an outsider magazine for outsiders.

VLR Awards 029

The main business of the evening is of course the distribution of awards but there’s some fine music as well and after a welcome and a little bit of history from editor Eugene Butcher we kick off with the house band for the night, who go by the soubriquet of The Vive Le Rockers’ but in fact they are most of The Urban Voodoo Machine which is about as good as a house band gets. They fall in perfectly behind each of the solo performers in turn, a masterclass in musical adaptability.

If you’re going to spend an evening celebrating classic British punk then you can’t start off better than a set from living legend T.V. Smith, formerly of The Adverts and nowadays in serious danger of acquiring national treasure status. The current issue of Vive Le Rock has an excellent feature on the music of 1978 and Gary Gilmore’s Eyes and One Chord Wonders, both from that year, still pack a punch.

He’s followed by Master of Ceremonies Ginger Wildheart with a set that includes two from  his newest long player, Ghost In The Tanglewood, to whit Daylight Hotel and Golden Tears and a favourite of mine, Toxins And Tea from 2015’s Year Of The Fanclub.

VLR Awards 002

The awards themselves are shared among some of the biggest names in punk and roots music with Kirk Brandon picking up the Pioneer Award on behalf of The Cure, Best New Band going to London Oi favourites Booze & Glory and the Roots Award going to The Selecter.

Best Film is presented by Brix Smith-Start and goes to the team from Buttz films, creators of Rebellion, Gary Crowley gets best re-issue and AC/DC drummer Chris Slade picks up the Rock In Peace Award which commemorates Malcolm Young. Perennial favourite street punks Cock Sparrer are best live act.

Album Of The Year, presented by Shakin’ Stevens, goes to The Professionals for What In The World. It’s my first visit with Paul Cook’s gang since Tom Spencer replaced Steve Jones on guitar and they sound just as driven and gloriously rough at the edges as they did at their late 70s prime. Going, Going, Gone – a tribute to messrs Lemmy and Bowie, is a new track that’s definitely worth checking out and although I haven’t got What In The World Yet, on this evidence it’s definitely near the top of the list.

VLR Awards 050

Best International Performer goes to Michael Monroe of Hanoi Rocks, who manages to overcome his natural shyness to pick up the trofe from Steve Diggle of The Stranglers. He later takes the stage for two songs with the house band during which he manages to climb over most of the stage equipment and perform some remarkable feats of balance on the mojos.

Charlie Harper is up next to get the King Rocker/Icon Award from Captain Sensible and he delivers a couple of songs including CID, as full of raucous energy as you could wish.and then it’s over to England legend Stuart Pearce to present the Band Of The Year Award to The Damned. And it’s up to them to close things down with a set that includes New Rose, Jet Boy Jet Girl and even a brief Wot.

VLR Awards 013

What have I missed? A great piece of rock and roll from the legend that is Shakin Stevens, Stuart Pearce leading a chorus of Sensible’s a wanker when the cherry bereted one and his bandmates fail to appear to pick up the best band award, an encounter with the luminous choppers of Spizz of Spizzenergi and there are plenty more moments and it’ll have to be enough just to say that it was a great night and if they do it again next year I’d like to be on the list please.

 

Jess & The Bandits: Fruit, Hull – live review

Last September, just as Jess Clemmons was setting out with The Bandits on a UK tour in support of her new album, the gospel influenced Smoke And Mirrors, Hurricane Harvey struck her hometown of Houston, Texas, causing extensive damage to her mother’s home and necessitating the cancellation of the tour. Five months on and she’s back with us, kicking off the rearranged tour at Fruit in Hull and proving to the doubters (if there were any) that the change of style hasn’t diminished her ability to create some of the finest cast iron ballads and torch songs you’ll ever hear.

Opening the show is up and coming Glaswegian country pop artist Kevin McGuire, who is also on a roll at the moment with the release of 2017’s debut EP Foreign Country leading to performances for the BBC and at the Nashville Meets London Festival.

ANH_1504

Highlights of his set include the new single Late, 3am which is an unusual up tempo break up song written from the perspective of a rejected lover who now unwillingly finds himself in demand again, and the last song of the set, Alright Tonight, which I’d recommend checking out soonest you have the chance. McGuire is one of a growing number of home grown country performers who seem confident enough to produce authentically British country music without the need to slavishly follow US music, although he is clearly influenced by the likes of Rascal Flatts and Sam Hunt.

Jess Clemmons has changed the line up of her band since I saw them last. They’re still bandits of course, but they’re different bandits, better suited to her new sound, on display on the fine new album, Smoke And Mirrors. There are still plenty of high powered country rock grooves of course, she hasn’t gone all wimpy on us all of sudden, and the show kicks off with My Name Is Trouble straight out of our favourites playbook before swinging into love Like That, another favourite and I’m Not Going Home, whose power shows the close connection between both sets of songs old and new.

Vocally she’s in fine form voice is in fine form – she’s as good a country singer as I’ve ever heard live – capable of a wide range of emotional colour plus considerably more out and out charismatic sexiness than one person really ought to possess. It’s not fair really it isn’t.

ANH_1560

The set is a mix of the best of the two albums with highlights including The World’s Still Round, whose brooding verse explodes into some great rock and roll, White Lies which slows things down a little but has a classic broken lives and shattered dreams feel to it, Gone Girl for which Clemmons channels her inner Dolly Parton and Nitty Gritty which has the whole room singing.

By tradition the set includes a couple of covers – on this occasion it’s Mama told Me not To Come and Bonnie Raitt’s Love Sneaking Up which is followed by the outstanding track from Smoke And Mirrors, the gospel anthem of empowerment Sister.

And of course the show ends with some of real favourites – bring the house down rocker Ready Set, the emotionally supercharged Fault Lines and to round it all off Single Tonight.

A fine show from one of our favourite performers and if I get the chance I’ll try to catch another show later in the year. If you get the chance you should too.

The Damned: O2 Apollo, Leeds – live review

As I made my way from the car park to the Academy for the show the night air was filled with rain and the sound of bells. Ringing in the damned.

The original goth punks were rumoured to be on good form, with a new album in the works, a single getting plenty of attention and the return of Paul Gray on bass and there was a long queue waiting to get out of the drizzle.

SJ Phantom 001

First up one of the best surprises I’ve had in a long time. Usually before I set out for a show I check to see who the support are but on this occasion I forgot, so it’s a real pleasure to find that it’s no less a personal hero than Slim Jim Phantom, Stray Cats drummer and rockabilly guru playing some of the rawest rock and roll you ever heard. The other two places in the trio are a movable feast, (I believe Captain Sensible and Dave Vanian sometimes appear), but on this particular night the top class sidemen are James Walbourne and Nick Wilkinson, whose day jobs are as guitarist and bass player respectively for The Pretenders.

Their set takes in classics spanning the history of rock and roll from Carl Perkins’ Matchbox and The Womack’s It’s All Over Now to a terrific That’s Alright Mama that sets off at a slouching amble before bursting suddenly into a run and reminding us all just what it was that made rock and roll great in the first place. They tie things up with the Cats very own contribution to the rock and roll classic song book – Rock This Town.

SJ Phantom 007

And so on to the main event and the Academy was pretty much full for The Damned who open with All Messed Up, Lively Arts and Silly Kids Games, representative of a set that’s heavily weighted towards the band’s glory days from the late 70s until the early 80s.

There’s a great British tradition of looking for the clay in the feet of our musical heroes and as such I feel like I ought to say at this point that The Damned weren’t a shadow of their former selves. We don’t have Johnny Hallydays in England.

The Damned 001

In fact The Academy crowd is treated to a great show with the band on excellent form, having a fine old time and revelling in the sheer joy of making some very loud music in company of several thousand like minded individuals. What more could you ask?

Front and centre Dave Vanian is bathed in Hollywood light as he struts his stuff with his retro mic and long black coat, while over to stage left The Captain finds himself a little pool of purplish darkness in which to hop and bop and twist, leaning over his guitar like a tangled marionette and offering occasional pithy comments. Paul Gray dances almost non stop and even Monty manages to escape his decks for a few brief moments of electrifying dad dancing during New Rose.

The Damned 011

Highlights include an anthemic Stealer Of Dreams, a raucous Elouise and the new single Standing On The Edge Of Tomorrow, featuring some ringing guitar riffs but what was most noticeable was how adeptly the band switches styles, one moment full on punk, next moment Vanian is transformed into a Neil Diamond style crooner. At one point he’s a fire and brimstone Old Testament prophet conducting a chorus of Woah ah Ohs on Devil In Disguise, next he seems to be channelling the spirit of The Housemartins.

The show closes with a mixture of old and new including Generals, Evil Spirits, (again the forthcoming album sounding like a good thing) and the classic Smash It Up before the band responds to the appeals of the assembled company by returning for a final cover of the Elton Motello classic Jet Boy, Jet Girl.

The Damned 004

The Flaming Lips: Zebedee’s Yard, Hull – live review

Flaming Lips

The Flaming Lips
Zebedee’s Yard , Hull
25th May 2017

Hull’s newest music venue is Zebedee’s Yard, close to the quayside. a car park by day, hemmed in by the backs of Victorian warehouses and office buildings. It might sound unglamorous but in practice it works just great, and while it’s probably destined to be a one summer only thing for the City of Culture celebrations it would be nice if it could continue to be used for the future because the city needs an pop up venue like this.

It certainly makes a great and slightly disorientating backdrop for The Flaming Lips,a band for whom great and slightly disorientating are the rule rather than the exception and they give us a show that certainly makes it into my top ten ever, an explosion of music, colour and joy whose psychedelia is only enhanced by the venue’s anachronistic red brick bowl.

IMG_7132

Everybody’s favourite young fogeys, Public Service Broadcasting, are the main support, equipped with tech and traditional instruments in equal measure and dressed as if they knew the yard’s buildings when they were young.

It’s the first time I’ve seen them live and I’ll admit to sometimes harbouring grave suspicions about bands that play computers on stage. I’ve vented them in QRO reviews on occasion, so I’m ashamed to admit that I have relatively low expectations of PSB. In my defence I’ll just say that it takes about fifteen seconds to realise that they aren’t what I’m expecting at all. No crouching over the decks gesticulating like they’re communicating in some sort of sign language for the constipated. No dancing on tables. None of the shouting “Come on Hull make some fucking noise” which usually passes for literacy for players of the Apple Mac and related instruments.

Their complex weaving of live music and samples is completely thrilling and even if I’m not dancing, (which puts me very much in the minority), I am completely mesmerised. No good asking me about the first few songs because I’m busy with cameras but I spend the rest of the set getting my head round their sound, which takes some time.

IMG_7322

It’s not until The Other Side, which deploys samples from the Apollo 8 mission, that I start to pick the threads from the complexity sufficiently to understand what’s going on. It’s a great track with the tension rising throughout,like a hundred heartbeats woven into one until it reaches a massive crescendo.

Favourite tracks are hard to call because it still all felt very new but Everest, which closes the set, is incredible and when Public Service Broadcasting leave the stage I have a new favourite band.

And then we’re all set for the main event. As a prequel nets filled with huge balloons are manoeuvred into the gangway at the side of the stage but so bijou is Zebedee’s Yard the crew are unable to get them past the scaffold structure. After several minutes of effort, filled with the sound of popping rubber, they give up and the balloons are distributed to the crowd by way of a human chain. It’s an impressive piece of work.

IMG_7447

It’s my first live encounter with The Flaming Lips, a band whose shows have achieved legendary status. The previous night they were at Glastonbury, closing things up on the Park Stage. Tonight it’s a car park in Hull. It might seem like a bit of a come down but you have to remember that this year Hull is the official UK city of real, proper culture, and Glastonbury is, as ever, the home of middle class beardy weirdy wannabe culture.

It’s difficult to know how to approach a Flaming Lips review. If you’ve seen them before you won’t need a description. If you haven’t then you probably won’t believe me.

The balloons having been pretty much eliminated by the end of Race For The Prize, Wayne Coyne, dressed in crimson velvet, is joined on stage by several large inflatable manga characters for a glorious Yoshimi. For the first time ever I miss loads of shots because I am too busy singing along. When There Should Be Unicorns trots in Coyne rides a ten foot luminous equine monocerous into the crowd. It’s a dangerous thing to attempt and the only safety gear with which he is equipped are some inflatable rainbow wings and a pair of fluffy green crocodile feet. If it all sounds a bit predictable then all I can do is promise you that it’s great. The unicorn completes a full circuit of Zebedee’s Yard and Coyne dismounts.

After that it all gets a bit weird.

IMG_7363

The hamster ball comes out for a strangely poignant Space Oddity and there’s a giant rainbow, more confetti cannons than you can shake a stick at, and a large inflatable Fuck Yeah Hull sign which has a much more pleasing symmetry than the previous night’s bottom heavy Fuck Yeah Glastonbury.

What’s most important though is that at no point in the whole bizarre process does the quality of the performance ever slip below fantastic. There may be a lot of nonsense in the air but it isn’t allowed to compromise the music.

The Yeah Yeah Yeah Song is a huge singalong and Coyne seems pleasantly surprised at how many people are able to join in with verses as well as chorus. The show winds up with a storming She Don’t Use Jelly and a tender and lovely Beatles tinged Do You Realize, which has the crowd singing as they leave.

The xx: Nottingham Arena – live review

Can it really be eight years since The xx picked up the top prize at the Mercury Awards? Seems like only yesterday, and even though they’ve released two albums since then and are seasoned veterans of the music industry, I still find that I worry about them, just a little. Partly it’s because their photos often make them look sort of vulnerable, but mostly it’s because their music sounds so personal and revealing. They seem to put much more of themselves on the line than other bands.

Maybe I’m wrong, but as I head for my first ever live encounter with the band, at Nottingham on Saturday 4th March, I find that I’m just slightly nervous about how their sound will translate to a packed arena (and from the crowds making their way through the streets in the direction of the Arena, it was pretty clear that it will indeed by packed out).

It’s not the size of the venue, so much as the presence of all these other people. I would gladly sit at the back of the arena and just let the sound wash over me, that’s what The xx songs are for, but sharing these intimate moments with thousands of others seems a bit too public. I don’t even do selfies. And I listen to The xx when everybody else has gone out. They’re not for sharing.

It’s the band’s first U.K. gig in four years and they sound pleased to be back, endearing themselves to the locals by referencing one of their early gigs at The Bodega (pause for cheering).

Since the last time they were round these parts, Jamie Smith, a.k.a. Jamie xx, has arguably become the best known of the trio, following the success of his 2015 solo album In Colour, with its array of complex beats and samples and subtly shifting melodies, and his parallel career as a producer and DJ. Here he’s positioned on a riser at the back of the stage, more or less invisible to much of the crowd (and to camera persons in the pit), but when he’s due an extended solo, an ingenious mirrored ceiling tilts into position so that we can see him scurrying between drums, keyboards, timpani, decks and electronics. It’s a fascinating view and a little bit like one of those overhead shots of maze tests done on small animals, giving the show an air of scientific enquiry, which it rather suits.

Vital to the group dynamic Smith may be, but The xx still look and sound like a trio of friends and it’s still Romy Madley Croft and Oliver Sim who take most of the responsibility for delivery. They work so well together, both instrumentally and vocally, that they are capable of changing the mood of a moment by the very subtlest of inflections, achieving a mesmerizing symbiosis.

There’s some smoke and lighting effects, and the aforementioned mirror, but precious few of the other tropes of the modern arena show. No elaborate posturing, no silly dances. Sim does the occasional mid riff spin, but he looks quite sheepish afterwards as if he feels like he’s let himself down a bit. There’s no cinematic back projection, no descent into the crowd, no bringing people onto the stage, and definitely no huge bouncing balls that drop from the ceiling, such as occurred last time I was at this venue, for Elbow.

This is grown-up music played rather seriously for an audience of grown-ups, and while there is plenty of dancing on the tiers, at the back where I’m standing it’s mostly people listening intently with their heads cocked slightly to one side and a toe tapping gently in time.

Songs from new album I See You predominate in the set list, but their first album xx is not far behind, and old and new material mesh together to create a unified whole with only the subtlest of tweaks to the arrangements. But then again subtlety always was The xx’s strong suit.


There are constant changes of pace and emotional colour so that the audience’s interest never wavers. Brave For You arrives fragile and delicate but develops into a piece of noise-rock that has the temporary seating vibrating in time to the bass line, and it’s followed by Infinity, whose stillness is profound, the whip cracks slicing their way across the arena like the theme music for an unmade British western. The repeated five note riff that introduces Violent Noise is mesmerizing, and having opened the show with Say Something Loving, they close the main set with a cover of Smith’s Loud Places before returning for On Hold, Intro and Angel, neatly combining the best tracks from each of their albums into ten minutes of achingly pretty encore, and proving that I needn’t have worried about them really.

The xx: Website | Facebook | Twitter

Fun Lovin’ Criminals | The Urban Voodoo Machine: Engine Shed, Lincoln – live review

Before any gig a little bit of research is called for. Read some interviews and reviews. Do some back catalogue trawling. Sometimes it’s a chore. Sometimes it’s bewildering and baffling. Sometimes it’s painful.

With the Fun Lovin’ Criminals, it’s a case of, “Wow, these guys are great. How come I don’t listen to them more?”

Maybe it’s because I’ve come to associate frontman Huey Morgan with panel shows and 6Music. Maybe I was a late adopter of the whole urban R&B thing. Either way, visiting the FLC back catalogue is an eye opener and a real pleasure. Their fusion of rock, hip-hop and urban jazz still seems very contemporary.

All of which means that when I arrive at the Engine Shed in Lincoln on Thursday, February 16th, my expectations for the night are high and they go even higher when I find out that the support are The Urban Voodoo Machine, who have been at the top of my must see list for a long time. I have read and edited so many reviews of the Machine over the past few years, all of them glowing, that I find I’m slightly afraid that they have to be a bit of a let down. Can any band be that good?

The answer is that they can. Imagine Tom Waits at his wildest fronting Gogol Bordello with elements of the punkest mariachi ensemble and New Orleans marching band thrown into the mix, and you’ll have something approaching their sound, but it’s not just their sound that matters. I’m a bit suspicious of costume bands. I calculate that the fancy dress is usually a cover for some sort of musical deficiency. Over the years it’s been a pretty good rule of thumb but in the case of the UVM it doesn’t apply. Decked out in red and black, with a priest on stand up bass, a zombie on drums, a sequined moll on saxophone and cymbals and a carefully choreographed off kilter madness throughout, the band change positions and instruments and styles while delivering as good a set of up tempo gypsy stomp as you’ll hear in a very long time. Fantastic stuff.

The Crims open up with the sly Fun Lovin’ Criminals (what else?) and within a few bars the audience are moving in time to the music. There’s even some singing along going on near me, which is pretty impressive, because it’s not an easy song.

From then on it’s classic after classic with the band on great form, Morgan displaying some smart guitar chops, Frank Benbini on drums holding everything together, which is a big responsibility in a funk hip hop band without a bass player (mostly), and ‘Fast’ Brian Leiser on an impressive range of instruments including horns, keyboards, decks, and swanee whistle. His versatility means that the band can play in a wide range of styles from the classic funk soul of Love Unlimited to rock and jazz as required and when he gets that bass out they really rock the joint.

The set is a real crowd pleaser, heavy on the late 90s favourites from Come Find Yourself and 100% Colombian with a couple from later albums like Classic Fantastic in the mix for good measure. Scooby Snacks gets a huge roar and comes in considerably heavier than I remember it, Korean Bodega is superbly wild, and in between the tunes Morgan takes the opportunity to indulge in plenty of banter with the band, the audience in general, and a woman in the front row in a check shirt in particular.

The main set finishes with a lounge bar All The Time In the World before an encore of We, The Three, Up On The Hill and Big Night Out.

Usually on the way home I start my research for my next gig via the iPlayer, but tonight I just leave the Criminals on shuffle.

Fun Lovin’ Criminals: Website | Facebook | Twitter

The Urban Voodoo Machine: Website | Facebook | Twitter

Alter Bridge, Volbeat, Gojira: Leeds arena – live review

Who is the best vocalist currently working in rock music? We could argue that one all day. It’s the kind of debate music fans love and of course we’d never get a definitive answer. But we can be pretty sure that if it came to a vote then Myles Kennedy of Alter Bridge, a man who was twice considered for Led Zeppelin duties and doubles up as vocalist for Slash’s touring band, The Conspirators, would be near the top of the poll.

It can’t be very often that the pre-eminence of Kennedy’s vocals is given a run for its money but at the Leeds Arena on Friday, December 2nd, we’re treated to a magnificent display of power and technique from not just one but two vocal greats, with Kennedy’s crown coming in for some serious pressure from Michael Poulsen, lead vocalist of Danish rockabilly metal outfit Volbeat.

It’s a 6.30 start and I’ve no chance of making it for hard rockin’ kiwis Like A Storm (subsequent YouTubeing indicated that I missed out, and I’ll be keeping an eye open for them in future) but I manage to catch the second half of a superlative set from Gojira. The Frenchmen certainly know how to put on a show and many critics tip them for superstardom. On this showing that sounds perfectly reasonable and they certainly know how to whip a crowd into frenzy – the ferocity of their performance being matched on the night only by a particularly terrifying circle pit.

Volbeat wear their influences on their sleeves. They reference Johnny Cash early on at the opening of Sad Man’s Tongue and later welcome Barney Greenaway of Napalm Death for a rousing Evelyn. As you’d expect the set is dominated by tracks from their most recent album, 2016’s Seal The Deal & Let’s Boogie (there can’t be many better ways to start a set than The Devil’s Bleeding Crown), but the highlights come when they rifle through the back catalogue a little for a captivating Lola Montez and Still Counting, for which they bring about half the audience on stage to sing backing vocals. Poulsen’s vocals are riveting throughout, particularly on the inspirational Let It Burn, for which phones and lighters (remember them?) are out in force.

Alter Bridge arrive quietly, sneaking onto the stage in the dark and launching into The Writing On the Wall. Their schtick throughout is to play down the grandstanding and showmanship in favour of being four ordinary guys playing some music. That’s not to say they don’t play a great show – they assuredly do – but it does mean that they put their energies into the performance, not into playing ‘Look at me, I’m famous,’ and they’re all the better for it. A little bit of modesty can be very endearing at times. With Kennedy on vocal and guitar duties he can’t roam the stage like some do, so he has to make up for some visual riffs in favour of musical ones – he’s a pretty good guitarist too, although he did seem happy to be released from instrumental duties and to interact with the front rows on Metalingus.

Alter Bridge are anthem rockers at heart and they have a knack for coming up with great melodies that give Kennedy something to really lean into. On songs like Ghost of Days Gone By and Farther Than the Sun Kennedy gives it that unique blend of passion and controlled power that made him famous back in the Mayfield Four days, but it’s on Blackbird that he really shows just what it is that makes him the best in the world with an extraordinary blend of power and emotion, accentuated by Mark Tremonti’s guitar work. On Waters Rising Tremonti takes the vocal duties while there‘s a moving solo acoustic performance from Kennedy for Watch Over You. Among the many highlights were a hard driving Addicted To Pain and the anthemic Rise Today, which closed the show and sent the fans home happy.

On this showing Alter Bridge are definitely shaping to be one of the major arena rock bands of the next few years with Volbeat not far behind and you should definitely catch both of them if you get the chance.

Jess and the Bandits: Fruit, Hull – live review

IMG_0086
Jess And The Bandits

Fruit, Hull

27th April 2016

It’s only a couple of years Jess Clemmons and her Bandits got together (having met while she was supporting them on tour under their alternative identity, The Overtones), and in that time they’ve had a hit album on the country charts (the excellent Here We Go Again, now available in a new deluxe edition), wowed Sir Terry Wogan (Sir Tel on Louder Than War – that’s another one off the bucket list), while playing live on his show and established a reputation as one of the most exciting live acts on the circuit. The chance to catch up with them at Hull Fruit is too good to pass up and word has clearly got round because when we arrive, plenty early enough for the supports the place is already buzzing.

Mighty Moon 001 (1)

Support comes from Hull four piece The Mighty And The Moon, whose country tinged songs recall Damien Rice with a hint of Tom Waits gravel. I particularly like Port In A Storm with its lovely, old fashioned slouchy waltz time but there are lots of other great songs in their set and they have a new album on the way soon.

Luke & Mel 005 (1)

Tour support are Luke & Mel are a duo from Cumbria and either Yorkshire or Lancashire (depending who’s asking) but they sound like they just stepped down off the stage at the Grand Old Opry. Highlights of their set include their cover of Little Big Town’s Little White Church and their new single, Bad Habit, which has that authentic Southern rock twang, calling to mind Miranda Lambert.

And so to Jess And The Bandits who get a huge cheer when they take the stage. Although Jess herself may have forgotten (until reminded by the fact checkers at the front), they played a storming set at the Cottingham Festival last year and I think half the crowd from that gig are here tonight. Texas born Jessica Clemmons is a force of nature, never still for a moment, dancing and striking poses, by turns confidential or coquettish, always charming, always commanding the room. At one point there is some chatter at the bar and she lets the culprits know that she’s not happy. It must have been something important because the rest of us can’t take our eyes off her.

Her set is a mixture of roadhouse country, torch songs and blues and she delivers in spades on every song with a style that’s a bit pop, a bit rock, a lot of blues and one hundred percent country. As well as the amazing voice she’s a terrific songwriter and songs like Kiss You Now and Love Like That establish a high standard for the rest of the night but the first really heart stopping moment is a cover of Lee Brice’s I Don’t Dance. Performed as a duet with keyboard player Steven Reid Williams, it’s completely lovely and displays perfectly the breathtaking liquid clarity of her voice.

She follows up with audience favourites My Name Is Trouble and Nitty Gritty, a rallying cry for everyone everywhere who isn’t a size eight. In the chorus she sounds just a little like Alanis Morissette, (which is considered a good thing in our house), and the song, which has made her the country music Meghan Trainor, deserves to be a huge hit. I feel positively guilty for not dancing with everyone else, but I resist the temptation.

Jess And The Bandits 017

There are also some terrific covers including Bonnie Raitt’s Love Sneaking Up, (which she nails absolutely, leaving no room to doubt her blues credentials), The Dixie Chicks Some Days You Gotta Dance and an extraordinary reworking of Jimmy Webb’s Wichita Linesman, a song she played to considerable effect on the Wogan show, the first time many of us became aware of her work. It’s a brave thing to take on a beloved standard that’s so associated with another artist, but she makes it all her own, with a reading that concentrates on the love song elements of the lyric but also brings out the existentialism of the original.

Highlights? Well they all are really. There’s not a dud in the show, but Stop Me, a great piece of power pop that wouldn’t be out of place on a Disney soundtrack is an album track that I didn’t appreciate fully until I heard it at this show and What If, on which her voice rises from breathless whisper to full on country diva goddess in a matter of a few bars, is a revelation too. Kiss You Now is another that lights the place up, as does Wanted Man, with Clemmons clearly revelling in the chance to let her bad girl run free for a while. Her solo single, Single Tonight, is a similar vein, and it’s a great piece of Shania Twainish sexy country blues. I’m going to name every song on the set list soon. They’re all great.

So there you go – classic country with blues and pop sensibility to spare. I think I’m supposed to find fault with something, it’s traditional, but I’m not going to and if you see that they’re anywhere near you soon make sure you go see them.

~

Jess And the Bandits: Website | Facebook | Twitter

Luke And Mel: Website | Facebook | Twitter

The Mighty And The Moon: Website | Facebook | Twitter

All words by idp. and photography by idp

________________________________________
No virus found in this message.
Checked by AVG – http://www.avg.com
Version: 2016.0.7539 / Virus Database: 4563/12124 – Release Date: 04/28/16

The Lumineers: Albert Hall, Manchester – live review

The Lumineers 001

The Lumineers

Manchester Albert Hall

19th April 2016

The Albert Hall. But not that Albert Hall. This one is in Manchester and it’s a small miracle of Late Victorian gothic baroque. It was closed up and forgotten about for thirty years until being reopened in 2011. It’s a huge pit of a place, with a superb three quarter balcony and just dilapidated enough to feel like you’re in touch with history. Getting to the toilets involves a huge trek through a subterranean maze, in corridors lined with those creamy ceramic tiles that have a curved profile in the corners. It’s like changing tube lines. The stage is bow fronted with a large overhang at the front which makes navigating the pit pretty tricky but fortunately the edge is marked out in white tape like in Tomb Raider.

First up is Canadian singer songwriter Andy Shauf who plays a deliberately restrained set to an already packed house on a stage drenched in blood red light, which suits his mixture of wistful fragments of poetry and disarmingly humdrum accidental murder ballads and while his live performance lacks some of the counter intuitive jazz embellishment that make his album The Bearer Of Bad News such a riveting listen, it’s still clear that Shauf is someone to watch for the future. Which doesn’t necessarily mean the distant future because his new album, The Party, arrives on May 20th.

The Lumineers 016

Restrained is not an adjective you could use about The Lumineers. Their set is part hootenanny, part singalong, part revivalist prayer meeting and all a big come as you are party at someone’s very large house. It’s relaxed and joyful and sharp as a nail and the band are clearly having a great time. They’re helped by their relationship with their audience which has the kind of warmth that you expect at gigs by people who have been around a lot longer than The Lumineers. They seem to have engender the same kind of affection that you expect at a Springsteen gig, it’s almost tangible. I don’t think I’ve ever been at a show where all of the audience knew all of the words to all of the songs before. The singalong starts right from the opening Sleep On The Floor and keeps going until the end of the show, only going quiet when the house lights go on so the band can conduct an acapella audience version of Ain’t Nobody’s Problem. Suddenly everybody gets self conscious. That’s audiences for you.

The Lumineers 014

Usually at this point I’d pick some highlights, but tonight it’s all good. Hey Ho arrives earlier than expected, as do Cleopatra, Classy Girls and Ophelia and with other bands you might expect so many big songs so early to lead to problems later on but it doesn’t. The Lumineers have enough quality material to keep things running just nicely and the band are flexible enough to change formats to keep things interesting throughout. Wesley Schultz is ever present, his voice as honey toned and emotional live as it is on the band’s studio work, complemented by the colours added by Jeremiah Fraites’ percussion and Neyla Pekarek’s cello.

After the show people are singing Hey Ho in the street and if this performance is anything to go by I’d expect The Lumineer’s next visit to Manchester to bring them to The Arena, just up the road and I shall be able to tell people that I saw them when they were still playing interesting and slightly dilapidated Victorian chapels. I shall be a bit smug.

~

The Lumineers: Website | Facebook | Twitter