Tag Archives: live

Public Service Broadcasting, Corn Exchange, Cambridge, 10 April 2018

The return of Public Service Broadcasting to the Corn Exchange after three years of a steadily increasing profile culminating in their new album reaching number four in the charts.

Support was from Jane Weaver, multi-talented singer/songwriter tonight showcasing tracks from her most recent album with her keyboardist and guitarist laying down some bold electronic grooves and featuring some excellent live drumming. Jane’s vocals float effortlessly above the music and the hypnotic qualities of ‘The Architect, ‘I Need A Connection’ and older favourite ‘Don’t Take My Soul’ went down well with the sold-out crowd.

With a stage flanked by two moving pithead wheels and miners’ lamps descending from above the four performers of PSB opened their set with the first three tracks from the very successful ‘Every Valley’ album, describing the central position of the coal industry in communities in the Welsh valleys; the decline of the industry to be revisited later in the show.

Their use of visuals has reached a new level, the striking images projected onto several screens, illustrating the archive voice samples. The musical core of the band continues as strongly as before, with live guitar, drumming and bass giving extra heft when necessary.
Older songs such as ‘Theme From PSB’, ‘Night Mail’ and concert rarity ‘Elfstedentocht’ (‘…a song about ice-skating in Dutch…’) were real treats but the surprise mid-set highlight was definitely ‘ROYGBIV’ when the voices describing the invention of electronic colour were accompanied by a visual spectacular.

We cheered the re-establishment of contact with Apollo 8 as it returned from ‘The Other Side’ of the Moon, enjoyed the dancing astronauts and brass-players in ‘Gagarin’, went misty-eyed over film of the pioneering ‘Valentina’, were shocked by the images of confrontation and musical dissonance in ‘All Out’, revelled in the eccentric singalong of spacecraft technology in ‘Go’ and were carried along by the emotional history lesson of ‘Everest’. And there was more too.

What a great show! In 2015 I described them as a ‘…formidable live attraction…’, they are even better now…

https://www.publicservicebroadcasting.net/
https://janeweavermusic.com/

Public Service Broadcasting, Corn Exchange, Cambridge, 25 April 2015

Josienne Clarke & Ben Walker, Fopp, Cambridge, 5 April 2018

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Cambridge record store Fopp was the venue for a short acoustic performance from highly-regarded folk duo Josienne Clarke and Ben Walker, a prelude to their show later in the day at The Portland Arms….
….and what a treat for the tired CD and vinyl shopper, as the pair spun their wistful melancholy with single guitar and unamplified voice, (adding a brief appearance from support act Samantha Whates on backing vocals for two songs). They opened with ‘The Birds’ from their ornithologically themed EP from 2017. Josienne has a pure, rich yet delicate voice, fully inhabiting the lyrical tales she tells. Having instantly won over the audience the pair then played the poignant ‘Something Familiar’ (5.8 million listens on Spotify!).

Currently touring to promote a new LP, Josienne and Ben have an extensive back catalogue including some covers of traditional folk tunes and more contemporary works such as ‘Dark Turn Of Mind’, a slow waltz from US alt-country singer Gillian Welch’s 2011 album ‘The Harrow & The Harvest’ which was performed next. Their current stage show adds drums, bass and keyboards to the sound, but the sparseness and space in the sound produced this afternoon was a hypnotic mix on its own. Ben plays acoustic mainly but also featured a retro Gibson hollow-bodied electric; what a superb sound that made.
They finished the set with the mellow ‘Seedlings All’, the title track to the new disc.
Pure Magic.

http://josienneandben.com/#contact

Gavin Chappell-Bates : Album Launch, Blue Moon, Cambridge, 24 March 2018

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Opening the show at the constantly improving Blue Moon venue room was local singer/songwriter/guitarist Claudia McKenzie, otherwise known as I,Claudia, with a set of uplifting and varied tracks, based on her own experiences and anecdotes. Best of these was the blues of ‘Rain Down Hell’ though she can soon lighten the mood with the start-stop pace of ‘Staying In Tonight’.

Last seen playing outside at a freezing cold Mill Road Winter Fair, Louise Eatock, better known as Flaming June played a short selection of her extensive back catalogue of powerful folk tunes, tonight joined on stage by violin and cajon to add extra pulsing rhythm and soaring melody to her timeless lyrics. ‘Little Love In A Cruel World’ and ‘Wednesdays & Weekends’ sounded as good as ever, with final track ‘The Deviling Kind’ neatly weaving a sinister lyric around an irresistible instrumental backing.

Gavin Chappell-Bates has spent many months crafting the rare treat these days of a ‘concept album’, and tonight he played it in full. It is an ambitious theme; whereas Stevie Wonder’s ‘Songs In The Key Of Life’ attempted to describe the spectrum of all human existence, Gavin details the build up and consequences of the end of the world for an individual who literally becomes ‘The Last One’. It may sound a bit of a grim prospect but the music is generally uplifting and as he explains, the message to take away is that we should appreciate what we have and live in the moment.

The first optimistic songs are full of memories of growing up; the gradual building of musical layers in ‘The Philosopher’, the spirited romp of ‘Lovely Day’, ‘Young Lovers’ with its catchy hookline and a tribute to ‘Mother’. ‘Bad Faith/Good Faith’ sees an edgier tension across the lyric, but with another potent hook. The recorded versions of some of the tracks feature strings and keyboards, but they are not missed tonight; Gavin’s specially assembled band (The Singing Trees) have a life of their own with solid bass, 12-string electric and sparky drumming supporting his own guitars and harmonica.

‘Do What You Like’ is a topical and bitter summary of human disregard for the planet and as a consequence Armageddon arrives in my favourite track on the album ‘The Last One’……after all if the world is going to end it is good to set it to a 70s glam rock shouter, much enjoyed by the audience.
‘Cinematic Memories’ and ‘The Sanctuary Of Stars’ are moving and thoughtful big ballads, then guitar-led rocker ‘This Is It’ brings the album to a close; no triple gatefold concept excesses here, it is all very much to the point.

A quick cover of REM’s ‘It’s The End Of The World As We Know It’ was followed by final encore of Gavin’s older single ‘We Are The Ones’ and left us feeling fine.

Well played Gavin and the band. A triumph!

http://gavinchappellbates.com/
http://loui552.wixsite.com/flamingjuneuk
https://www.iclaudiamusic.com/

Wave Pictures, Esquires, Bedford, 15 March 2018

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In their many years of extensive touring, the Wave Pictures had never played in Bedford, historic home town of John Bunyan, author of Pilgrim’s Progress. It was also new territory for Cambridge’s Mammoth Penguins, the opening act in Bedford Esquires; ‘one of the UK’s most beloved independent small music venues’.
Tracks from their superb debut LP (‘Cries At The Movies’, ‘Propped Up’ and the matchless ‘Strength In My Legs’) were mixed with songs from their new concept album where a person’s disappearance is described from the viewpoint of all the affected parties. As a power trio they produce a bold balanced live sound, with plenty of space for instrumental nuance and the subtleties of Emma Kupa’s sharp lyrics.

The Wave Pictures have a core of adoring fans and gather new converts whenever they come to town; their reputation for hard work is reflected in the news that they have two new albums out this year in June and October. This productivity rate results in a vast back catalogue and tonight’s show mines gems from this rich seam including the opener ‘Little Surprise’ and fan-favourite ‘Spaghetti’.

If you have never seen them before prepare to be impressed by the relaxed but confident musical interplay between the trio, the quality of the songs and of course the guitar playing intricacies from unassuming frontman Dave Tattersall unleashed early on in ‘Lisbon’ and especially later in ‘Tiny Craters In The Sand’.

Jonny Helm steps out from behind the drums for the affecting ‘Sleepy Eyes’ and Franic Rozycki constantly develops bass lines that mesh perfectly around each rhythm, as the style ranges between the rock blast of ‘Pea Green Coat’, the slower blues grind of ‘H.D Rider’ with new companion piece ‘House On the Beach’ and the effortless shuffling groove of ‘Before This Day’.

One of the only bands you will see who can take requests and instantly play them, we were treated to ‘Stay Here And Take Care Of The Chickens’ and an encore cover of the brooding blues ‘Green River’. The final song in the main set was the pensive ‘Like Smoke’, drifting upwards into the rafters and fading away into just the vocal refrain, as we all wondered when we could join them for the next show (It is Cambridge on June 23rd…!!)

http://thewavepictures.com/
http://mammothpenguins.tumblr.com/

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Indiepop Alldayer, Firebug, Leicester, 24 Feb 2018

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Another strong line-up in the upstairs room at The Firebug, kicking off with local duo Jitterz, who have claimed to be ‘the uncoolest band you’ll ever meet’ and the drums/guitar/vocal set-up is an ideal opener with some raw and smart own compositions. Like the White Stripes but more fun.

Charmpit carry an American attitude into some very British preoccupations and their infectious noise is accompanied by props, glitter and general likeability, including inviting everyone to the all-you-can-eat buffet afterwards. Personal Best were replaced at the last minute by multi-talented Emma Kupa, frequently reviewed in various guises on this site, this afternoon she was playing acoustic guitar and singing her heartfelt, emotional vignettes.

MJ Hibbert And The Validators play wistful, amusing songs showing that getting older doesn’t adversely affect your views on life, love and alternative music (‘…my boss was in an indie band once, he never sold his bass..‘). Nice bit of violin playing too.

After a short break to re-charge, Fightmilk opened the second half with the explosive ‘Bank Of Mum And Dad’, full of neat lyrics (‘…everything I own is in a box in the shed…’) they make a great sound, with a relaxed on-stage chemistry. They really are enjoying being on stage and the feeling spreads into the audience. The sinister, brooding ‘Your Girlfriend’ shows that the band are not just all-out rockers. A definite highlight of the day, can’t wait to see them again!

As soon as Suggested Friends kick into ‘Chicken’, you know you are in safe hands; with Emma Kupa back on stage on bass, pounding drums and tight guitar work, all held together by Faith Taylor’s extra-special vocals. It is a ‘Song 2’ for the indie DIY scene. ‘I Don’t Want To Be A Horcrux For Your Soul’ motors along pushing all before it and the high point for me is the superbly concise and scary ‘Please Don’t Look At Me On The Bus’ with a hookline you can’t get out of your head.

I had been looking forward to seeing Milky Wimpshake (returning to Leicester for the first time in at least twenty years!) and I wasn’t disappointed. Frontman Pete Dale has a substantial back catalogue to delve into and the bands sparse but sharp playing gives room for his tales of the politics of the nation and relationships or just the mundanity of everyday life, with some tracks going back to his recently re-released debut album ‘Bus Route To Your Heart’.

We had to leave soon after former Broken Family Band frontman Steven Adams And The French Drops started their bill-topping set, but they seemed to be hitting the heights early on with many fans in the audience.

It was a great musical mini-festival (and still only £8!!?)

https://jitterz.bandcamp.com/
https://charmpit.bandcamp.com/

New album out now!

http://mjhibbett.co.uk/
https://fightmilkisaband.bandcamp.com/
https://suggestedfriends.bandcamp.com/
https://www.facebook.com/milkywimpshake
http://www.stevenjamesadams.com/

Franz Ferdinand, Corn Exchange, Cambridge, 23 February 2018

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Meggie Brown is a singer/songwriter/guitarist from London playing a mystical punk rock, showcased perfectly in her debut single ‘Coming Back Again’, (produced by FF’s Alex Kapranos). Tonight she was playing with her sharply dressed and tightly drilled band, who although as support they were all confined to one side of the cluttered stage, impressed and engrossed the steadily growing sold-out crowd. It was an enjoyable set, I particularly liked the sudden instrumental twists in amongst the spiky lyrics, and I am still pondering the meaning of ‘crying for 14 years’ appearing on Meggie and her companion guitarist’s frock coats..

Albert Hammond Jr has a reputation founded on his guitar playing in cult legends The Strokes, and he has continued to push boundaries with his solo work, soon to release his fourth album, ‘Francis Trouble’. Fronting a five-piece band he is a likeable and lively performer, able to share his affability with ease as he leaps around the stage, climbs onto speakers, plays guitar or serenades his stripy jacket. The band are reassuringly adept too, able to switch smoothly between wall of sound and sparser tracks based around single line figures.

Since Franz Ferdinand released their debut album in 2004 they have built a strong reputation based on live performance and a succession of contrasting albums, with constant experimentation weaving through their own distinctive sound. Now expanded to a five-piece, new disc ‘Always Ascending’ featured heavily tonight, with ‘Lazy Boy’ and ‘Paper Cages’ particular highpoints. In an artfully crafted set, old favourites also appeared at key moments, with ‘Do You Want To’ and favourite of mine ‘Michael’ (in the absence of ‘Jacqueline’!) which really kicked the crowd off. Some moody moog synth textures featured more in mid-set but of course the wall of guitars for ‘Take Me Out’ was stunning.
During the encore the back-projections of the band members and other effects went into overdrive and then the double header of new (‘Huck and Jim’) and vintage (‘This Fire’) brought the show to an explosive finale.

http://franzferdinand.com/
http://www.alberthammondjr.com/
https://www.facebook.com/meggiebrownmusic/

Shopping, Cluny 2, Newcastle Upon Tyne, 2nd February 2018

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Cluny 2 is an intimate and characterful venue converted from a theatre which was formerly a Victorian flax mill. Tonight it hosted three contrasting but complementary bands. Openers Swine Tax were playing on their home turf; they describe themselves as 90s inspired indie-rock chaos which seems an accurate description. Showcasing a mostly new and unrecorded set, they pushed the standard three piece instrument line-up in all sorts of directions, with singer/guitarist Vince Lisle fronting the songs with an energetic stage presence. They made a good noise, with recent single ‘Feels Like’ as a standout track.

Leeds quartet Milk Crimes are full of DIY-pop melancholy and desperation, set to a great wall of double guitar, punky bass and relentless drums underpinning plaintive vocals. In punk rock tradition it seemed a very short set, with riches including the opening salvo of ‘Hanging Out’ and ‘Deadtown’ and the frenetic bursts and quiet interludes in ‘Hail Seitan’. Hopefully they will have some new recorded material out soon.

Shopping have the simplest of sounds but it works brilliantly, live and on record. With many tracks from their newly released album ‘The Official Body’ (produced by indie legend Edwyn Collins!) their set was a spiky sounding masterclass in concise, message-carrying danceable pop. Their eternal triangle of staccato drums, single-line clear guitar figures and one of the sharpest bass sounds you will hear anywhere are topped off with call and response vocal interjections, often single words or phrases that say it all. ‘Why Wait’, ‘Discover’ (with a squelching synth bass line) and the changing tempo of ‘Control Yourself’ showed the band on top form with the audience under the spell. The final track was ‘Suddenly Gone’ and then they were…

https://www.facebook.com/weareshopping
https://www.facebook.com/milkcrimes
https://www.facebook.com/swinetax/

Wooden Arms, Portland Arms, Cambridge, 13 December 2017

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On a damp December evening, the welcome prospect of three acts making waves in their own not easy to classify genres.

The show started with the ethereal dreampop soundscapes of upcoming Cambridge trio Carolyn’s Fingers. Named after a song by the Cocteau Twins they weave their music from a simple combination of bass, keyboard and an echoing guitar that sounds like it is appearing over a distant horizon. Add hypnotic vocal cadences, unpredictable taped percussion clicks and bursts and you have their signature track ‘Glemora’. Their lyrics address some difficult issues such as the mental state of residents in a detention centre in the minimalist ‘Vapour’. A new single was being filmed during the set for video release and I think we will be hearing much more of their haunting sound.

I last saw Xavier Watkins fronting psychedelic revivalists Violet Woods a couple of years back, here he was back at the Portland with his new project Twenty-Three Hanging Trees; one man and his analogue modular synthesiser. He builds up electronic textures in extended pieces, requiring concentration from the audience to absorb the ever-changing sonic layers. With blurred back projections of images in reds and greens and the visual necessity of plugging in and removing wire connections it was all strangely involving.

Norwich band Wooden Arms describe themselves as a ‘genre-fluid contemporary quintet’ and with the addition of a new bassist they are creating a thoughtful acoustic-based ensemble sound, playing tracks from their new album ‘Trick Of The Light’. Seated at his electric piano singer Alex Carson is the creative drive behind the band, drawing on difficult personal experiences for many of the lyrics. Co-writer and lead vocals (and trumpet) on some songs Jeff Smith has a similar but subtly different voice. All of the band contribute backing vocals, adding an extra dimension to the infinite variations of instrumental light and shade.
The tempo of songs is sedate but there are so many intriguing touches; the sprightly birdsong violin on ‘Brevity’, the John Barry string motif on the smooth roll of ‘Cole Porter’ and the way the plaintive piano figures seem to underpin the direction of the songs. From the novel by Patrick Hamilton, ‘Twenty Thousand Streets Under The Sky’ is a great title and the song seems to lose itself in an evocative journey too. The final two tracks, the older ‘December’ and newer ‘Burial’ (released as a single) are fine summations of the band’s work, ending the show on an emotional crescendo.

http://www.woodenarms.co.uk/
https://www.facebook.com/23hangingtrees/
https://www.facebook.com/carolynsfingersband/

Indiepop All-Dayer, Blue Moon, Cambridge, 18 November 2017

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I have been looking forward to this one for ages with 9 bands in the friendly and intimate environment of The Blue Moon, now with its lighting and sound system upgraded. I missed Emma Kupa and Rainbow Reservoir‘s set but as previously reviewed on this site I’m sure they didn’t disappoint. Arriving to see Faith Taylor who I last encountered jangly-guitaring in Chorusgirl, she was showing a complete other side with an acoustic, dreamy folk accompanied only by her own guitar, violin and occasional backing vocals. This gives her chance to show the full range of her beguiling voice, particularly on the gorgeous Astral Weeks vibe of the closing number ‘Soon’.

Baby Arms is the side project of Jen Doveton of Colour Me Wednesday and from the deliciously titled ‘Eviscerator’ (‘..I will pull the truth out of you and your guts will spill…’) these songs moved along very nicely, brought to life by her fine backing band. There is a reassuring uncluttered DIY feel to the set, and she has a great clear pop voice, shown off particularly well in the plaintive ‘Garden City’ and ‘A Sign’.
It was a hard act to follow, but Chrissy Barnacle is in a category of her own; telling unpredictable and involving stories of her native Glasgow over gentle acoustic guitar. In contrast Shande are a noisy bunch, plenty of raw energy in the fuzzy guitar, mixed down vocals and relentless drums, this trio went down very well with the committed (and sold out) audience.

After a break to recharge, anticipation was high for ‘DIY punk Witches’ Dream Nails and just how good were they? Sparkling presentation, politics, protest, interaction, excellent and loud sound quality and short, short songs; the pure punk ethic embodied for half an hour of musical bliss. ‘DIY’ and a song to describe the retrograde motion of planet Mercury and its influence on our lives were in the best bonkers spirit of the B-52s and the track about rising fascism in Europe was over as soon as its point was made after a few seconds. I loved it!

Personal Best have some very strong songs, opener ‘If You Meet Someone In Love – Wish Them Well’ is irresistibly catchy and with a wall of guitar, some neat instrumental nuances and strong vocals they are the complete package. The mighty anthem of tolerance ‘This Is What We Look Like’ is an impressive and thought-provoking achievement.

Stepping up effortlessly to the headline slot was the brilliant Chester trio Peaness seeming quite moved by the welcome and affection of the crowd, with the band genuinely surprised to realise that many in the audience were singing along with the lyrics. The songs are sparse and uncluttered with no indulgent extended instrumental passages; the shared vocals and all those little drum tricks – everything is in its rightful place. The sudden stops and glorious chorus in ‘Summer Song’, the fuzzy rhythm guitar and intertwining bass line in the environmental ‘Ugly Veg’, and the camouflaged political message of my favourite ‘Oh George’; all are moments to treasure. Three new tracks were included tonight then the frantic finale of ‘No-One’ – Peaness were the perfect end to another superbly curated showcase of infectious indie pop…

https://peanessband.bandcamp.com/
https://personalbest.bandcamp.com/
https://dreamnails.bandcamp.com/
https://allthingsschande.bandcamp.com/
https://chrissybarnacle.bandcamp.com/
https://babyarms.bandcamp.com/
https://faithtaylor.bandcamp.com/
http://www.rainbowreservoir.com/

New album out now!

https://www.facebook.com/CambridgeIndiepopAlldayer/

Dos Floris, Lexington, London, 13 November 2017

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The opening night of a short tour by electronica performer Dos Floris, with more dates to follow in the spring next year. The Lexington is one of those cool London venues with a legacy of many musicians playing on their way upwards.
Opening the show was Orlando Seale, with a stage decorated with inflatable animals and swimming aids, he introduced an unconventional support set, with elements of performance art keeping the audience on their toes. He was accompanied by a clipboard-wielding actor who chose to commend or reprimand Orlando on the quality of his performance as well as a second guitarist wrenching unearthly electric sounds to complement the calm and simple delivery of some haunting songs such as the sublime ‘Wrestling’.
He has recorded a superb EP and more with a full orchestral backing, tonight’s show was a complete contrast but nonetheless as effective.

If watching Orlando was like being part of a play by Samuel Beckett, the one-woman powerhouse that is Dos Floris took us onto another heavenly plain altogether. Florence Donovan is an excellent singer and pianist, as showcased later in the show with the stripped-back ‘Human Relations’ but her use of electronic loops, layers and textures brings her debut album to sparkling life this evening. ‘To The Wolves Part 1’ sets the agenda of sweeping soundscape and holds the audience riveted, their silent attention being testament to the compulsion of the occasion.

There is a pleasing unpredictability to the live versions of the tracks, with so many keyboard buttons that can be pressed to twist and enhance. The bass pulse of ‘That Day’ rocks you to the core, the anti-war message of ‘All The Kings Horses’ still cuts through and ‘Before You Loved Me’ is stunningly effective. The album title track ‘The Widowed Earth’ weaves its ethereal spell and when the show is all over somehow those haunting sounds are still echoing around this fine venue as Florence leaves the stage.

http://www.dosfloris.com/
http://www.orlandoseale.com/