Cambridge indie-stalwarts Model Village have supported HMHB before and tonight they warm up the sold out crowd with tales of getting older, social comment and wry observations over some jangly guitar and keys. With bass and drums setting a jazzy-folk pace for Lily’s vocals, the Village feature tracks from their three albums; most recently the critically acclaimed ‘World of Carp’.
Half Man Half Biscuit return to the Junction for a near two hour set including many tracks from early on in their long career. Good sound quality meant we heard nearly every lyrical twist and cultural reference as well as the dynamic instrumental power that intermeshes so effectively. Full of highlights, a brilliant show much appreciated by the packed audience.
Charlie Worsham opened the show; soon connecting with the audience with his combination of guitar, mandolin and warm vocals. Tales of Nashville and his extensive musical journey (including a performance in Cambridge in his college days) introduced his thoughtful songs; highlights being ‘Young To See’ and ‘Old Time’s Sake’.
Ward Thomas have many excellent songs; their extensive set featured most of their new (fifth) album ‘Music In The Madness’, starting with the mid-tempo ‘All Over Again’ and they later included my favourite new ballad ‘If It All Ends Today’; a casually beautiful melody and sentiment delivered to perfection.
The album is mostly their confident country-pop but ‘Justice & Mercy’ is rich story- telling Americana, joined on mandolin by Charlie Worsham to augment the superb band. A cover of Razorlight’s ‘America’ fits in neatly and there was plenty of time for older classics, especially the heartbreak double of ‘Cartwheels’ and ‘Guilty Flowers’.
Catherine and Lizzy’s vocal harmonies combine with strength and subtlety, showcased especially on the quieter or slower songs like ‘One More Goodbye’ or the acoustic stillness of ‘Safe’.
An encore of the celebratory ‘Carry You Home’ followed by the gentle ‘Love Does’ was the perfect end to this excellent evening.
A new track from emzae; composed, performed and produced by the Derby based musician. It will be the central track on her forthcoming album ‘All Those Things I Thought I Knew’, due on 1st September this year. ‘I Guess, Anyway’ is the follow-up to the concise funky blast of ‘Extraordinary’, also to feature on the album.
In contrast to the casual tone of the title it is a sweeping, epic track encompassing many of the themes of her strong run of previous singles, both lyrically and musically. With a soothing introduction establishing the gentle waltz pace the phrases drift in and out ‘….if the sky still is the limit it seems like its falling for me….’ leading into ‘…..if only I’d taken a moment to capture the confidence I had before…’. There are four musical sections to investigate the themes of introspection and reflection, culminating in a big thoughtful chorus ‘…here I am at least twice my age at the same time I swear I’m too young, for the next stage….’.
Just when you think the song is ending in atmospheric contemplation big bold washes of sound create a guitar sounding solo to herald the strong finale; a cascade of dense electronic immersion for a passionate declaration of powerful words; ‘…..the knowing nothing years….desperate for loving years…..wishing for golden years…..hate getting older years……it’s all been played out before….’
I have followed emzae’s music for a while (see other reviews on this site) and with this track her gift for melody has combined with one of her best ever vocal performance to produce a brilliant result.
A revisit to this haven of musical adventure and the chance discovery of hidden gems. The Verinos were part of an initiative to encourage older women to form bands and their self-penned tunes went down well with the early afternoon crowd.
Breakup Haircut were the highlight for us, full of frenetic punk sparkle and with songs like ‘Out Of My Way (I’m Not Getting On The Nightbus)’ and ‘Why Can’t I Be Cool Enough to Move to Berlin?’ there was an addictive energy to the performance. Lilith Ai held the audience rapt with just guitar and voice, interweaving introspective lyrics with sparse yet intricate musical lines.
The blast of ‘Blurred Visions’ opened the set from Chemtrails and there was no let up from the guitar, keys and dual vocals from this sonically powerful band, very well supported by the packed audience. The reassuring indie constructions from adults were very welcome; full of lyrical intrigue and unpredictable instrumental turnarounds. Headlining band ME REX ended up as a solo performance but by this time the low key, thoughtful songs were a fitting closedown to the evening…
Opening this fine evening of folk and Americana music in this converted church venue was Lauren Housley, showcasing her soulful voice and song writing as featured on her album ‘Girl From The North’. With just acoustic guitar backing her performance had instant appeal for the near sell-out audience.
For this tour The Wandering Hearts have stripped back to the core trio and with two excellent albums already and many new songs due for release soon their set was rich in highlights. Blending their three harmonies for an introductory cover of ‘White Christmas’ and then into the subtle delights of early single ‘Burning Bridges’, the acoustics of this ancient building showed off the gorgeous sounds.
The three performers create a very full sound, with only guitar backing for many of the tracks, sometimes augmented by mandolin and piano. To contrast the gentleness of ‘Dolores’ and ‘Lullaby’ there were plenty of anthemic choruses like ‘Build a Fire’ and main set closer ‘Devil’. With a seasonal finale of Auld Lang Syne blended with the outstanding ‘Wish I Could’ it was a superb show, echoing long in the memory.
Chloe Foy opened the show with the ethereal title track from her 2021 debut album ‘Where Shall We Begin’ (reviewed here) and immediately set the tone for this thoughtful and engaging evening in the spiritual surroundings of this attractive hall. Her songs interweave lyrical honesty with a heartfelt vocal performance supported by a single guitar; combining to great effect particularly on the glorious ‘Evangeline’. Chloe also contributed harmony vocals and multi instruments for the rest of the show.
Headliner Jesca Hoop, brought her evocative songs to shine and intrigue, featuring many from her newest album ‘Order of Romance’. Her sparse guitar lines combine with sensitive percussion and bass as a platform for her distinctive voice and lyrics that pull the listener into a world of abstract imagery and personal reflections.
The music moves in unexpected directions, a balance of dark and light that gently sparkles in the excellent acoustics of this venue. The melodic beauty of ‘Lyrebird’ and ‘Pegasi’ were standout tracks, staying in the mind long after this brilliant show had ended.
John Bramwell (former frontman of I Am Kloot) opened the show with a combination of intriguing lyrics and intricate acoustic guitar lines, delivered with warmth and clarity. His sparse and thoughtful songs made an instant connection with the audience.
Two thirds of the way through a huge sold-out tour The Proclaimers return to Cambridge and as usual they deliver musically and emotionally to a packed hall of adoring fans. The show started with the title track from their new album; the duo continues to record and featured new songs throughout the set.
‘Over and Done With’ and ‘Should Have Been Loved’ are up-tempo fun songs boosted by their appearance in the excellent ‘Sunshine on Leith‘ movie, but it is the irresistible swirl of ‘Let’s Get Married’ and their debut hit ‘Letter from America’ that first raise the roof. At the heart of the show are many hidden gems; going back to their guitar/vocal roots for ‘Misty Blue’, the simple beauty of ‘Make My Heart Fly’ and spiritual intensity of ‘Sky Takes the Soul’. The political messages are still strong too, with the independence theme of ‘Cap in Hand'(from 1988) and especially the moving description of immigration ‘Scotland’s Story’ (2014) sounding bang up to date.
Craig and Charlie Reid have created a huge back catalogue of memorable songs with the contrasting giants of ‘Sunshine on Leith’ and ‘I’m Gonna Be (500 miles)’ being the best known. Towards the end of the set these were of course received with massive enthusiasm as the superb band sound soared into the rafters of the venue. Finally, the party atmosphere of ‘The Joyful Kilmarnock Blues’ sent us away happy into the rain and fireworks until the next time…
Cambridge six-piece Tape Runs Out opened the show; they are a complex ensemble performing on the edges of many genres to produce a satisfying hybrid sound. Driven by the unique tones of hammered dulcimer and violin enhancing the restrained backline and the atmospheric vocals they previewed several new tracks due to be released early next year.
Indie pop-rock favourites The Wave Pictures always receive a warm welcome in Cambridge, returning tonight to showcase their 2022 release ‘When The Purple Emperor Spreads His Wings’. This is a concept-ish collection built around an album side for each of the four seasons and gives the trio extra scope to spread their fine sounds.
Beginning with older gems ‘Roosevelt Sykes’, ‘Spaghetti’ and ‘Pea Green Coat’ demonstrating the varied styles of the band repertoire, the newer songs then slotted in comfortably to form a hugely enjoyable setlist. David Tattersall’s serene guitar playing beguiles as Franic Rozycki and Jonny Helm mesh bass and drums together seamlessly, especially for the addictive delights of ‘Pool Hall’, ‘Strange Fruit for David’, and ‘I Love You Like a Madman’.
A fantastic show, hopefully they will be back soon…
First on stage at this sold out show was Kezia Gill; with her strong vocals and witty lyrics she won the audience over playing her opening track ‘Country Song’, featured on her 2021 EP ( reviewed here). From the tender reminiscence of ‘Local Man’s Star’ to the partying ‘Whiskey Drinkin’ Woman’, Kezia was a shining opening act.
From the USA, Eric Paslay has an impressive CV of collaborations, hit songs and awards. Tonight his engaging performance of these carefully crafted tracks brought the listeners into his world of subtle disquiet and emotional celebration.
It has been a long delay before headliners The Shires arrived in Cambridge for this tour but tonight’s show made up for the wait. The duo were supported by a spot-on band for a set that alternated rockers (‘Lightning Strikes’), grand ballads (recent single ‘I See Stars’), and the emotional pull of very personal statements (not a dry eye in the house for ‘Daddy’s Little Girl’). Ben and Crissie are an instantly likeable pair, with the great strength that the two individual vocals can carry a song brilliantly but the combined harmonies of both voices are on another quite magical plane.
In a show of many highlights, by the time we reached the big finish of ‘A Thousand Hallelujahs’ the combined hands of the audience were definitely waving up to the heavens…
A musical highlight in the ‘Sound + Vision’ multi venue festival bringing new and established music and comedy to the city.
Unfortunately we missed indie strategists Death to Slow Music but arrived in time for some of the psychedelic noise burst of Cambridge favourites Lemondaze, fresh from a support slot for cult shoegazers Ride the previous evening. As on previous encounters, the density of the band’s sound engulfs the intimate confines of the Portland but there is always a loose and off beat ambience that warms the soul.
Chester-based trio Peaness played the whole of their soon to be released long-player ‘World Full of Worry’, starting with the gentle acoustics of ‘Take A Trip’ and the punchy previous single ‘Kaizen’. Full of light and shade the songs are relentlessly likeable and there is always instrumental twists and delights, given extra depth with the inclusion of a keyboard player for this opening night of their tour.
‘Doing Fine’ carries subtle sadness along with a crisp melody as does ‘Left To Fall Behind’ with the haunting refrain ‘…hoping for the best…preparing for the worst…’. The superb pop of ‘Hurts ’til it Doesn’t’ is identified by the band as a Beatles-type composition then the wistful ‘Sad Song’ finishes the main set.
Audience favourite ‘Oh George’ showcases Peaness at their best; politically biting, sharply delivered vocally and musically, but always with warmth and humour. Then ‘Same Place’ is a celebration of friendship before the emotional flourish of ‘Skin Surfing’ brings this excellent show to an end.
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