It is good to know that a bit of searching finds that the folk and roots scene in Cambridge extends far beyond the annual folk festival and includes events such as this triple showcase hosted in the intimate surroundings of J3, set out cabaret style with candle-lit tables creating a very friendly and supportive ambience.
Having established themselves in other bands, Yve, Clare and Lu are still deciding on a name but in the meantime play guitar and violin and on a night where harmony vocals featured strongly they did justice to some timeless songs, including a subtle version of the Bee Gees ‘To Love Somebody’. Original compositions too are promised in the future.
Trio Luna Falls instantly create a captivating sound; three acoustic guitars and vocals that gel with each other perfectly and reflect many years of sisters singing together. They play tracks from their EP and also cover versions including a spirited rendition of ‘The Irish Rover’. I think their own material is very strong; the haunting waltz ‘Gentle Lies’, the multi-layered tones of ‘Breakthrough’ and of course the impressive, award-winning ‘Falling To Pieces’, a favourite of mine from a recently reviewed compilation.
From acoustic folk the evening then went into pure country rock with SJ Mortimer & The Flying Pigs. SJ has a great voice and her original songs reflect more of the up-side of the genre; travelling on (‘Hit The Road’), celebration of love (‘Heart Beats Faster’) and with ‘American Dream’ the desire to make music in Nashville (where SJ actually recorded her album!). The combination of violin, guitars, banjo and beefed-up cajón with extra bass drum effect gave plenty of depth to the sound with SJ’s voice soaring effortlessly through it all.
There was a cover of the late Tom Petty’s ‘Free Fallin” and a rowdy ‘Fireball’ which is the title track to her new EP and a good excuse for a drinking game. With guest backing vocalists on the contemplative ‘Smokey Mountains’ we were treated to some emotional six part harmonies. The final encore was the glorious ‘Folsom Prison Blues’, (which always seems to make it sound a fine place to be?!), a fitting conclusion to a really good show.
Back to Cambridge for Teleman; this time playing to a much larger audience in Junction One.
Support act were Cambridge five-piece Lunacre, confidently rising to the occasion on the big stage. With keyboards, guitars and intermittent saxophone they have a varied palette of sonic textures to choose from and the songs show restraint and subtlety as the instrumentation drifts in and out to create a relaxed, hypnotic sound.
The title track from their new EP ‘Schtum’ is a highlight as are the sax and vocal layers on ‘Occam’s Razor’. ‘(Re)Cycle’ had the insouciance of a song by the fast rising band Glass Animals. Best of all was ‘Engine’, including driving drum pattern and full-on bass punch, showing off the wide range of the band.
Teleman have a spring in their step, with an appearance on BBC music showcase ‘Later…with Jools Holland’ last week, many sold out dates on their current tour and two albums of quality material to perform. I saw them in April and since then they have expanded and refined many of the live versions of the songs to fill the larger stage (also including a frenetic lightshow and columns of steam for ‘Steam Train Girl’!).
They benefitted from the recently improved sound quality in the Junction, especially for some of the raucous edgy guitar parts and some foreboding keyboard moments. The drumming of Hiro Amamiya was spot-on and adds so much to the glorious ‘Dusseldorf’ and the celebration of ‘Skeleton Dance’.
My favourites tonight were the double keyboard electronica of ‘Brilliant Sanity’, the quiet desperation in the vocals of ‘Drop Out’ and the triumphant final song ‘Glory Hallelujah’ where the chord progression just seems to be different from anything you have heard before.
Hopefully now they will get the recognition they deserve (but I will miss them playing smaller shows in the Portland Arms!)
…and it was just as good this time around. Perhaps there was more of an emphasis on the rockier songs, but many of my favourites songs were still in place; the locally lovelorn lyric of ‘For What Is Chatteris’, the musings of mortality of ‘When The Evening Sun Goes Down’ and their tour de force of music and words, ‘The Light At The End Of The Tunnel (Is The Light Of An Oncoming Train)’.
Songs assuring the extended cultural longevity of B-List celebrities were also featured; ‘Bob Wilson – Anchorman’, ‘The Bastard Son of Dean Friedman’, ‘Dickie Davies Eyes’, the nightmarish ‘Gubba Look-a-Likes’ and the sad moments of ‘Tommy Walsh’s Eco House’.
A blasting cover of The Damned song ‘New Rose’ was part of their encore, a super example of how good their band sound actually is, underpinning their unique lyrics…
All together now,
‘I said “Would you like to go the zoo?”, she said “Yeah, but not with you”
Twenty-seven yards of dental floss, but she still won’t give me a smile…‘
As part of a Bank Holiday weekend mini-tour, the ever-popular Wedding Present arrived in the intimate setting of Junction J2 for a real fan treat, the complete performance of their fifth album ‘Saturnalia’.
Support was from Leeds four-piece Deadwall, with some mellow songs featuring unlikely protest lyrics about the Paris Climate Accord and Shell’s oil activities in the Niger Delta over some moody backings, each time allowing the sound texture to develop with keyboards and subtle drumming. Radiohead are probably an influence, but Deadwall go in their own direction.
The Wedding Present have maintained quality in their output since formation in 1985 and one of the many jewels from the back catalogue is ‘Saturnalia’. This sounds as fresh as it would have on release in 1996 when there was critical acclaim for its experimentation. Playing the album in original sequence involved plenty of guitar changes and some extra keyboard and drumming parts but the energetic band pulled it off in style.
The driving force for the show is of course David Gedge; composer, guitarist, frontman, singer and all-round likeable bloke. The opening ‘Venus’ is to-the-point, ‘Skin Diving’ is a guitar-dominated plea of desperation but my favourite is ‘Montreal’, an incisive tale of rejection.
The second half of the set was a mix of old and new, including a preview of new LP ‘Going, Going….’ due out later this year. The double burst of ‘Kennedy’ and ‘Brassneck’ featuring David’s explosive rhythm guitar and the show ended with ‘Perfect Blue’, showing that after all the emotional hurt of some of the preceding lyrics he is still an incurable romantic….
Father John Misty arrived at J1 as part of a sell-out UK tour. First onstage was singer Anna B Savage, performing compositions accompanied by her subtle and spacious guitar playing. Opening with cryptically titled ‘IV’ from her debut EP her intense, personal lyrics pulled us into a private world. Background audience noise spoilt the moment a bit but many were appreciative.
Song ‘I’ is a lovely melody over gently picked chords and the more free-form ‘II’ with opening line ‘I will never amount to anything…’ and build-up to an abrupt ending completed the short set strongly.
Father John Misty is the performing name of former Fleet Foxes drummer Joshua Tillman and after showcasing his new sound on the album ‘Fear Fun’ he has now released the highly acclaimed ‘I Love You, Honeybear’. And what an album it is, a lush mixture of folk, rock and country with an overarching and personal theme of falling in love. So how would this transfer to live performance? Brilliantly.
Playing acoustic and electric guitar FJM was backed by guitar, keyboards and drums. From the first (title) track, we were bowled over by the magnetic stage presence and his great singing voice and connection with the audience. ‘Strange Encounter’ echoed the retro western themes played between the acts and ‘True Affection’ is a neat electronica based surprise. ‘When You’re Smiling…’ is a soaring ballad delivered even more powerfully than the album version and was an early highlight among many.
Some of his astute modern life observations were shared with the audience between songs but of course many of the lyrics contain these too, especially ‘Bored In The USA’, a bit of a show-stopper with just piano accompaniment and described tongue-in-cheek as a meta-ballad about despair. During this he used a borrowed phone from the audience for an elaborate selfie/filming session, this ‘special’ moment then absurdly deflated when the phone-owner pointed out it wasn’t recording anyway!
I’m Writing A Novel’ was a country rock rouser then the compact delight of ‘Chateau Lobby #4…’ had the crowd singing. And plenty more…
It was a great show, one of the best I have seen at The Junction in a long while.
The Ukrainians returned to Cambridge on a Monday bank holiday evening in the intimate setting of Junction J2. Singer-songwriter Ellie Jamison opened the show, performing heartfelt songs with her pure natural voice and gently played acoustic guitar, accompanied by subtle percussion. The set was well received, with her warm and engaging personality evident in her asides to the audience, but the numbers in the venue were few at this point so it was difficult to create much of an atmosphere, until the final more up-tempo track.
In 1991 The Ukrainians were founded by ex-Wedding Present guitarist Peter Solowka and violinist and singer Len Liggins. Quickly establishing a reputation for frenetic live shows they have continued to record and tour. Always singing in ukrainian, with a mixture of traditional folk and rock instruments they have appeal across many genres. During their career they have occasionally recorded versions of some cult rock classics such as an early EP of four Smiths songs. Now their latest project is a new album ‘A History Of Rock Music In Ukrainian’ with a tour featuring tracks from it…
Chronologically and thematically random, ‘I Predict A Riot’, ‘Psycho Killer’, ‘Venus In Furs’ and ‘The Model’ all work really well and who can resist ‘Smells Like Teen Spirit’ with an accordion break or ‘Hound Dog’ accelerating from slow blues to full speed blast. When all six musicians are in full flight the combination of guitar, mandolin, bass, drums, violin, accordion, unidentified pipes and vocals is unstoppable, a bit like The Pogues in their heyday (and still now, see my review from last year…). Western music does not in general get gradually faster over the duration of the song, but it is an infectious and addictive rush when it does.
I missed some of their more ‘traditional’ and much-loved songs (with lyrics about crows, bread and lost donkeys?), but I like the idea that they are trying something a bit different on this tour.
This was the fourth time I have seen the band, it is always a real treat, catch them next time they are here!
Four-piece Oxford band Glass Animals arrived in Cambridge for their sold-out show at the ideal venue, Junction J2. First on stage was Alicia Catling, a local songwriter/guitarist with a steadily rising profile. Playing a gently strummed and unadorned electric guitar her pure voice floats above, telling dream-like and dark tales.
Glass Animals know how to put on a good show, the opener ‘Black Mamba’ sets the tone, with distinctive sparse introduction and haunting melody line eventually giving way to louder layers of synthesisers and drums. Singer Dave Bayley is a likeable frontman, he is a confident presence and you can tell that he and the rest of the band have total commitment to the music.
The surreal quality of the lyrics and mostly one-word titled songs continue, there is always something going on sonically with constantly changing combinations of keyboards, guitars and deep bass. Sometimes they become a more conventional indie rock band and rock out, but the dominant sound is multi-layered and spacious. Four songs in, the familiar introduction of catchy 6 Music favourite ‘Gooey’ appears, to huge crowd reaction. It is a standout song, the sound of endless summer on the way.
‘Walla Walla’ has a funky and percussive feel that could be an experimental David Byrne track, ‘Toes’ has a laid-back but relentless edge. The atmosphere created is enhanced by a coloured backdrop, four large tree-like structures and a subtle but effective lightshow; all indicating the effort being put into making this gig a bit special. Finishing the set with ‘Wyrd’ they returned for an encore of ‘Love Lockdown'(a Kanye West cover(!?)) then finally ‘Pools’, a strong closing song.
I think they will need a bigger venue the next time they come to Cambridge…