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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.

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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.

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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.

 

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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.

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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.

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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.

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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.

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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.

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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.

 

Erasure: Hull City Hall – live review

So City of Culture year has been and gone and what a year it was. From my point of view it meant Jeff Lynne, The Flaming Lips, Ocean Colour Scene and lots more. The question now is whether or not Hull can continue to attract big names, to the new Venue, or the football stadium or my special favourite Zebedee’s Yard for open air gigs and, of course, to the amazing Victorian pile that is the City Hall.

Early signs are promising – maybe the City of Culture can do attitude is still around – and we have the likes of Orbital and Chase & Status and local hero Calum Scott lined up for the summer. The year’s major musical events start out with a sold out show from 80s pop legends Erasure at the City Hall.

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Support comes from up and coming nu-disco star Bright Light Bright Light who is making his second visit to the venue, having played last year’s LGBT rights festival night. He’s got some great catchy songs, a style that’s midway between classic pop and musical theatre and a nice line in restrained ironic showmanship. Plenty of the crowd at the front are obviously fans already and it looks like he’s made a few more by the end of his set.

The stage set up for Erasure is a surprise, with the duo separated from each other for most of the show, Andy Bell performing in the narrow space between the front of the stage and a large ziggurat constructed from scaffold and fluorescent tubes atop of which is Vince Clarke with his keyboards and a guitar. There are two dancers and singers who initially occupy frames, also fluorescently defined, on either side of the stage but their contribution is pretty minimal. All eyes are on Bell who dominates proceedings by sheer charismatic presence although Clarke descends from the gods towards the end of the set it almost seems like a one man show.

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But what a great show it is. Even though I’ve been playing Erasure tracks all week I’m amazed by the strength in depth in their back catalogue. The set kicks off with an eerily gorgeous Oh L’Amour and heads for a climax with Sometimes and Respect but along the way are Stop, Drama, Blue Savannah and a variety of Love related matters including Chains Of, Victims Of and Who Needs It Like That.

Tracks from the new album World Be Gone are interspersed throughout and on tonight’s showing it’s a strong piece of work. All around the City Hall it’s pretty much a non stop dance-a-thon, from the main hall to the steep galleries and what more perfect way could there be to celebrate some of the most elegant and romantic pop music ever than dancing the night away.

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By the time Clarke descends for the last couple of songs you’d imagine that people would be exhausted but of course they’re not and the final Respect is a triumphant statement of the power of great pop music to unite people in joy. Fantastic stuff.

Interview: Reggae legend Ali Campbell

As founding members of Britain’s biggest reggae band UB40, singer Ali Campbell, second vocalist Astro and keyboardist Mickey Virtue topped the UK singles chart on three occasions and sold 70 million records as they took their smooth yet rootsy musical blend to all corners of the globe. Now with ‘A Real Labour Of Love’ the trio give us a fresh take on the legendary series of albums, putting the focus primarily on reggae tracks from the 1980s.

We got to talk to Ali and we started out by asking him about the inspirations behind the new album.

idp: First of all congratulations on a fine new album. It’s got the real classic UB40 feel – a bit cheeky, a bit sly, a bit chilled, a bit romantic. It’s going to be very popular with the fans, I’m sure of that. And it sounds like you were all having a lot of fun in the studio.

Ali Campbell: Well yes, we loved it. It’s a delight to go into a studio to record songs that you already know and that you love. That’s why we called them the Labour of Love albums. We’ve called this one A Real Labour Of Love just to differentiate it but they were very successful albums. We sold more than 21 million of them and some of our biggest hits came from them including Cherry O Baby, Kingston Town, and Red Red Wine.

What made you decide that the time right for a new version and what’s special about the songs on this one?

They’ve been asking us for a long time to do another one so we thought that enough time had passed and we should give it a go. The songs that we cover on this album are all over thirty years old now. They’re the songs that we listened to when we were on the road with the first Labour Of Love album. When we made that album we were we were just covering the songs we grew up listening to – the songs that made us love reggae in the first place – whereas this one takes us into the 80s. These are the songs from when I was in Jamaica.They’re all classics and big hits in the reggae world and we’re trying to bring them to a new audience.

I’ve spent a long time on YouTube and elsewhere tracking down the originals of some of these songs and it has reminded me just how powerful great pop can be. How were the songs for this album chosen and did they bring back a rush of memories for you of the time when you first heard them?

Well most of them are reggae classics that I was listening to in the 80s like JC Lodge’s Telephone Love and Strive by Shinehead which is a great record. And then of course there’s She Loves Me Now by the great Dennis Hammond which is the first single from the album. There’s a really nice and funny little film to go with it and you can find that online. These are the sounds that made us love reggae in the first place and when me and Astro sat down and started to draw up a list we were like all we got to have some Dennis and we’ve got to have some Gregory. It really is a joy to do these albums. It’s always nice doing your own material but it’s a lot easier and more fun to cover songs that you love. It’s only what The Beatles did and the Stones and The Who but they loved blues and we love reggae. Their hero was Bob Dylan and mine was Bob Marley.

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It sound like you’re still as passionate as ever about making music.

It’s the best job ever and i think I’ve got the hottest reggae band in the world right now. I think this is the best thing we’ve done in 25 years.

How does your approach to a covers album differ from making an album of original material? It must be important to avoid doing anything like a note for note copy.

If there’s a secret to it, it’s that you have to stay true to the melody because that’s why you liked the song in the first place but then we do our take on it and we try and make it more accessible to a pop audience. That’s all we’ve ever tried to do really, When we started the band in the first place my main idea was because I loved reggae music I wanted to promote reggae music.

Just like I loved dub and I wanted to spread the word about that. There’s a song by Goldie Lookin Chain and one of the lyrics goes “I wouldn’t know what dub was if it wasn’t for UB40” and hearing that for the first time was one of my proudest moments. The first dub album we did was our third album I think. Present Arms had gone in at number two and we thought this is the perfect time to do a dub album and show people what it’s all about. A lot of people brought the album and then took it back to the shop saying it was faulty. No vocal and some strange echoey sounds. But if you look all around the world at pop music today so much of it is informed by reggae beats. People like Justin Bieber and Ariana Grande even The Script. I saw them the other day doing a reggae track. The Sly Dunbar beat, the Bogle beat, that’s what contemporary dance music is at the moment. So reggae is more influential now than it’s ever been which makes me happy.

There’s some excellent artwork with the album and you’re auctioning some of it for charity. It’s nice to see performers taking an interest in the music as an artefact for a change. We used to love reading the album sleeves and looking through the racks at the record shop but now it’s all electronic, living in download world as we do.

It can be a bit soul destroying when you spend a year or two of your life making an album from its inception to the point where it’s finished and you spend all that time and all that money and all that effort and then you see people listening on little white headsets coming out of their phones. It’s like why was I worried about getting the bottom end to sound just right and trying to marry the bass drum and the bass guitar perfectly; it all seems a bit futile but it’s what we do. When you go back and you’re re-recording tracks that you remember as classics they always seem a bit rougher than you remember them. So it’s nice to go in and do a clean version and try and reduce it as best I can.

You act as the producer on the album. Is that something you’ve always done.

UB40 have always produced their own around music and I like to be there at the mix because there’s nobody else who knows better than I do how I want it to sound. We had Sly and Robbie mix for us but even though they’re geniuses and we love them it’s never been exactly what we wanted out of our own music. We believe we’re the ones who know what it’s meant to sound like.

Any particular favourite tracks on this album that you’d recommend we go listen to?

I think people should go and have a look at the funny little movie that goes with She Loves Me Now. It’s a terrifying thing to follow in the footsteps of Dennis Hammond I felt the same way when we did Many Rivers To Cross. It’s a tall order. I had a lot of sleepless nights and worry because he’s one of my favourite singers. It’s a bit like taking on Stevie Wonder. That’s got to be one of my favourite tracks on the album because it’s one of my favourite songs of all time anyway.

You’ve got lots of festivals lined up and an arena tour as well so you’re going to have a busy few months.

We’re doing mostly festivals in England and Europe this year. I still love touring and playing live. As I said I’ve got the hottest reggae band in the world at the moment we’ve we’ve had Morgan Heritage play with us, and Inner Circle and and Jo Mersa Marley. Raging Fyah too, they’re one of my favourite bands of the moment.

Well thanks for the chat, congratulations again on the album and we’ll hope to catch one of your summer festival shows.

Thank you.

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.

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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.

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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.

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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.

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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.

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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.

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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.

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Interview: Jess Clemmons

 
Jess Clemmons first came to the attention of British music fans a couple of years ago with the release of Here We Go Again, her debut album with The Bandits and one of the most exciting country rock albums we’ve heard in recent years. Many of the people who now count themselves fans first heard of her when her version of “Wichita Lineman” was played by DJ Terry Wogan, who afterwards declared it to have been even better than the Glen Campbell original. Praise indeed.

Since then she’s been a regular visitor to the U.K., touring all over the country and winning a large following. Last year her second album, Smoke and Mirrors was released. It was selected as one of the highlights of 2017 by Country Magazine and the lead single “Sister” received extensive airplay from the BBC.

She’s back on tour in the U.K. in February, kicking off at Fruit in Hull on February 6th and if you’re a fan of top notch country music then we’d highly recommend a trip to the north bank to catch the show. We got to talk to Clemmons about music, marriage and the perspicacity of small dogs, and we started by asking about the distinctive change of sound on the material on the new album.

idp: Let me start by congratulating you on Smoke And Mirrors. I’ve been listening to it for a couple of weeks now and it’s an excellent thing. It has a distinctly different sound to Here We Go Again. A little less country rock, a little more pop and gospel. Was this a deliberate decision or did it just happen, like a natural progression?

Jess Clemons: It was absolutely deliberate. The last thing that we ever want to do is to try to recreate something we’ve already done. There’s a kind of “if it ain’t broke don’t fix” it trap and some performers and bands fall right into it. It’s easier but it also means that you don’t grow as an artist and you don’t give the audience something new. Making a big change to your sound involves taking a chance and that’s why we spent a whole year working on the songs for the new album to try to get the best of both worlds – still recognizably the established Jess And The Bandits sound but with plenty of the new in there as well.

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idp: Did it feel like a risk?

JC: Well there were certainly lots of times when I was in panic mode because much of this was so different from anything we’d done before but that was mostly before I’d really started living with these songs, sharing them with friends and colleagues. Gradually it came to feel less strange. I would take the old album and choose a song to play at random, and then I’d play one of the new ones and I came to realize that there was a coherence between the songs – a big similarity in the body of work, which is exactly what you want. I wanted to find a way to tie all the songs together because when you’re in a club playing live you don’t want it to sound like you’re performing songs that don’t belong together. So I’m really glad that I went with my gut and that my management team supported me and I decided to take a risk and go for it.

idp: There’s a lot of gospel influence on the album. Is that something that you grew up with? You seem to drop into the groove very easily.

JC: I did grow up singing in the choir and the gospel feel as always been a part of me. It used to hurt that whenever I would get a solo in church I was always given the gospel part and I used to say, “I want to sing the pretty little songs,” but soon I decided that I’d embrace it. When I decided to use the gospel sound on the new album it felt really good because I felt I was getting back touch with the gospel tradition within myself that I had not made use of for a long time. It was like I was going back to my roots and to being a little girl again.

idp: There’s an extensive list of writers who contributed to the album, many of them working with you as co-writers. Do you enjoy collaboration?

JC: I love it and I got to work with some fantastic writers on Smoke and Mirrors. Femke Weidema, who co-wrote “Sister”, is actually the producer of the album and it’s great to work with a producer who is also a songwriter because you can see a song go from it’s very beginnings to being almost complete in just a few hours. Having her as a producer with such gave me such an advantage. And there’s Emily Shackleton as well. She wrote “Every Little Thing”, which was a big hit for Carly Pearce and she’s fantastic to work with.

idp: So you work in Nashville but you live in Houston?

JC: I’m in Houston now and I think I have been here for longer than I’ve ever been but I’ve taken full advantage of the downtime including getting married. I’m Mrs Peavey now. I’m getting used to that but it still feels a bit weird writing it down. I’ll get used to that soon.

idp: I understand that your dog told you that he was the right one.

JC: Unfortunately my puppy died a couple of months ago but he was always very protective about who was around me. He was just a little dog but he was one of those little dogs who think they’re very big dogs. But when Chris was around he would just cuddle right up and I thought that if I hadn’t already figured out that he was the one then maybe I should just pay attention to the dog.

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idp: I think you were also hit by hurricane Harvey.

JC: Oh yes that was precisely why we had to postpone the U.K. tour last year. It was scheduled and I had been in the U.K. for a month getting ready and everything was all set and then I got the word that my parents home and been severely affected. It was the worst thing I’ve ever witnessed especially from thousands of miles away. I spoke to my mum and she said, “Do what you have to do,” but I could have hear the pain in her voice so I asked, “Do you want me to come home?” and she just burst into tears and said “Yes.” I said, “Right I’m going home, people will understand.” She’s okay now. She’s back in the house and it’s coming together slowly. They don’t have a kitchen yet but they do have a bedroom and a bathroom.

idp: You also issued an old fashioned Christmas CD which has lots of U.K. country performers on it and a song by Gary Quinn. What do you think of the current U.K. country scene?

JC: I’m a big fan. I’ve been touring the U.K. since 2016 and I’ve seen the country scene develop so fast. I love the way a lot of U.K. country artists are using their own heritage to make authentic British country music. It’s not just a question of copying the U.S. music anymore.

idp: Are we expecting a mixture of new material and old when the tour comes round?

JC: Absolutely. It’s good to be starting in Hull because Fruit is an excellent venue and we’re hoping for a good crowd. I’ll try and put in the songs that people really love plus some from the new album and hopefully people will have had time to get to learn some of them and sing along.

idp: I’m sure they will. Have a great tour and we’ll look forward to seeing you in Hull.

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

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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.

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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.

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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.

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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.

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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.

Ward Thomas: The Engine Shed, Lincoln – live review

Ward Thomas
The Engine Shed, Lincoln
25th May 2017

Credible British country music artists tend to be somewhat thin on the ground but with the arrival on the scene of Hampshire based duo Ward Thomas, (made up of sisters Catherine and Lizzy Ward Thomas) it certainly looks as though UK fans might have some top drawer home grown talent to cheer about for once. Call it the Nashville effect or the C2C effect, call it the Whispering Bob effect, but British country music is on the up.

Ward Thomas have two excellent albums to their names including Cartwheels, a UK number one album earlier this year, (and not the UK country charts either, the real proper chart), recorded in Nashville with Bobby Blazier and Chris Rodriguez, who have worked with Wynonna Judd and Shania Twain respectively and they have a deal with Sony who appear to be prepared to invest some serious effort in them. It’s pretty clear where Ward Thomas see their trajectory and it’s right up there where Taylor Swift is leading the way.

They certainly write terrific country pop songs, not those huge lumbering epics that some country artists prefer but sweet little songs about love and aspiration and their voices are superb, with just the right amount of heartache and Southern twang without it getting silly. So for my part their show at Lincoln Engine Shed on Thursday 25th May is about finding out whether they can carry it off live and the answer is that they can do it in style.


Extra security checks mean that we only get to see the last couple of songs from openers Wildwood Kin which is a shame because from what little we heard their harmonies were terrific, particularly on their cover of Crosby, Stills and Nash’s Helplessly Hoping. They’ve got a packed schedule of summer festivals on the way and if you get the chance to see them you should definitely take it.

Whatever the little bit of magic is that turns country music into gold Ward Thomas have oodles of it and then some. They take turns at lead vocal and their four piece band are as sharp as you could wish and they switch between the Roadhouse style bluesy swingers and the softer ballad style numbers easily, performing an acoustic section mid show by way of variety.

Highlights include Town Called Ugley which recalls The Mamas & The Papas Creeque Alley, Cartwheels and the new single Material and they round the show off with Push For The Stride, the opening track from 2014’s From Where We Stand, probably the first Ward Thomas song that many of the crowd tonight heard and just about the perfect way to finish. It’s a song full of platitudes, I’ll give you that, but it’s a song that gets even the most curmudgeonly of us, (that would be me), tapping their toes and as we leave we’re all smiling and singing as we scour the pavement for an authentic looking stalk of corn to chew on.

~

Ward Thomas: Website | Facebook | Twitter

All words and photography by idp

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