I was getting really angsty before this one, due to the fact the photographer was running 20 minutes late and there wasn't much time available...
Words - Suzy Sims
Editor - Rob Ball
First published on mintsouth.com in May 2009
(c) mintsouth
ORLANDO WEEKS (THE MACCABEES) @ THE GREAT ESCAPE
Five minutes and counting. Team mINtSOUTH are sat in a Brighton café facing The Maccabees’ lead singer Orlando Weeks. He’s recovering after a late night and is wearing a patterned cap and a sleepy yet friendly smile. The interview cards are at the ready. Time to see if we can do this before we’re interrupted by the soundcheck. Go!
Quirky indie poppers The Maccabees played last night in the Corn Exchange, and in a few hours time are set to play in the Pavilion Theatre, a matinee show for competition winners. Recent single ‘Love You Better’ has been all over the airwaves and the band has been touring the UK over the past few weeks, so Orlando is probably welcoming the chance for a quick sit down.
How’s the Great Escape Festival going so far?
“I saw The Week That Was yesterday and that was really good, and I really enjoyed The Agitator as well. I’ve got to head home after we’ve played this afternoon. We played [The Great Escape] maybe two years ago and I came last year. It always seems to do that thing where it doesn’t rain properly, it just makes everything damp and so the whole time you feel slightly sticky. It’s a sticky festival.”
Do you get much time to watch bands at festivals?
“Yeah, that’s kind of the massive privilege of it all is that you go and see bands free and you see bands that you haven’t seen for ages because everyone’s touring or everyone’s been writing records and you all meet up at festivals.”
Have you got any plans for the rest of the year?
“Just going to be playing loads and loads and loads. At the end of this tour we’ve got like seven days or something, and then go to Europe for a bit, go to America, come back and do the festivals, and do another tour in autumn around England again and Europe. There is rest, it’s just like at unusual times.
“I’m quite excited to see Fleet Foxes at Glastonbury and we’re playing Haldern Pop Festival in Germany with Grizzly Bear. Their new record comes out Monday so I’ll have enough time to get my head round that and then I’ll be able to see them for real. I can’t wait.”
If you could have a great escape, where would you escape to? “Right now?” He has a think. “I’d go to Cornwall.”
As we’re currently not in Cornwall, we mention Brighton. “I’m from London, I’m from Clapham but I lived here for four years whilst I was doing a degree. Illustration.”
Do you know many bands in the area? “Yeah I think that part of the charm of Brighton is that because it’s so close knit, you kind of end up knowing everyone, so it’s nice.”
And from the city itself on to funfair rides: "I used to really like the one that’s on the end of the pier, where you’re on the end of an arm that goes like that (does swinging motion) and I can’t go on it anymore because I read that someone was on one once and a seagull went in their head and killed them. If you want to get made up so it looks like you’ve been shot or have an arrow through your head, my father would say that it wasn’t a good idea because it would be tempting fate. So in general anything that risks life and limb unnecessarily, I think I’ve inherited that from him, I don’t see the point. Seagulls are evil birds,” he adds, quite rightly.
The Maccabees’ second album ‘Wall Of Arms’ came out earlier this month on Polydor. Has Orlando got any messages for people who haven’t bought it yet but who really should? “I wouldn’t say buy it. Just borrow someone’s, see what you think.”
How’s it going down, are you getting quite good feedback?“Yeah, so far so good. The people that have borrowed it have liked it,” he says with a smile.
Finally we see if Orlando has any advice for the new bands all trying to make it big at this year’s festival.“I’m not really one for giving advice really, I don’t really feel like I’ve earned that privilege,” he says modestly. “All we did was just play as much as possible and rehearse as much as we could and be really self-critical. I don’t think that’s advice, I just think that’s how we went about it.”
Time to let Orlando whizz off and get soundcheck out the way. There’s just enough time to grab a quick photograph where Team mINtSOUTH pretend to be his bandmates. “You have to look moodily into the distance,” Orlando advises. Instead we grin like berks. The Maccabees’ singer may not like giving advice, but it’s for everyone’s benefit.
http://www.themaccabees.co.uk
Showing posts with label the maccabees. Show all posts
Showing posts with label the maccabees. Show all posts
Monday, 5 October 2009
Wednesday, 24 June 2009
The Great Escape 2009
My third year of coming to this festival. The first year, I was a normal punter. Second year, I was an unemployed journo with a delegate pass. This year I was with the press. So presumably next year, I'll either be playing it or selling tickets. PS - much love for Cocoon, Dananananaykroyd and Fight Like Apes.
Previously published on mintsouth.com in May 09
Words - Suzy Sims
Editor - Rob Ball
(c) mintsouth
GREAT ESCAPE FESTIVAL DIARY 2009
THURS 14th MAY
There’s a brisk wind blowing across Brighton seafront, whipping my hair and bashing my bags on my legs as we march towards the Thistle Hotel, home of the delegate check in. After standing in line to have some quite ridiculous photographs of our mintsouth mugs copied onto press passes, we’re away… straight into the bar of the neighbouring Queen’s Hotel. Good work, team.
The Great Escape text service is already in full swing, with reminders popping up about forthcoming street gigs as we find our way to Arc on the front. Up a flight of stairs, round a corner and into a dark, stone-walled room, and we’re not the only people to be starting the festival here. It’s Thursday lunchtime and William Fitzsimmons is onstage. I’m unable to see anything due to the mass of people crowding into the gloom, but there is something comforting about the oak-matured vocals warming the room. When Fitzsimmons emerges, his beard enters the room a good minute before the rest of him. “Set of the festival!” proclaims excited mintsouth editor Rob. Calm down love, we’ve only been here for half an hour…
http://www.myspace.com/williamfitzsimmons
After a bit of time poring gig schedules, changing plans and helping ourselves to several cans of Red Stripe, it’s time to split and head for our evenings of madness. First for me is a wait in the rain outside the gated Audio, a venue which appears to be an underground prison from the outside, but with marginally better décor once you’re down there. I step up the barrier and await Act One, Video Nasties. They appear onstage in the same shirts they wore at their Southampton gig the night before (don’t think I didn’t notice). Opening with an enjoyable waltz, the Nasties are noisy and melodious but not particularly nasty, unless you’re not a fan of the bassist’s extraordinary fringeness. The keyboardist dances like he’s starting an outboard motor. It’s all rather good.
http://www.myspace.com/videonasties
Next up are Mika Miko whose songs are sharp blasts of punk, very short and spicy. From where I’m stood the vocals are being drowned out. The band are made up of fuzzy guitar, high-waisted jeans, telephone mics and saxophone, with a spot of instrument swapping.
http://www.myspace.com/mikamiko
The crowd soon warms up when Dananananaykroyd’s chief screamer Calum Gunn flings himself into the crowd for a dance and a rasping shout. He’s shortly joined by the rest of the band, for they do not shy away from interaction and enjoy an opportunity to show off their dance moves. Drummer/vocalist John Baillie Jr is standing on the barrier when he’s not using the sticks, guitarist Duncan Robertson rubs his guitar across the top of my head, and there are some amused cameramen filming the whole crazy shebang. The lads next to me are going nuts and there’s plenty of shouting, dancing and raucous fun. God, my arms hurt from that barrier.
http://www.myspace.com/dananananaykroyd
Sadly I miss Black Lips as I’m tasked with crossing the rain-filled city to find Komedia. Everything Everything are onstage when I arrive, playing some angular beats mixed with angel voices with very Delays-style harmonies. It’s all very sweet sounding underneath. Meanwhile, I’m busy updating my Twitter feed with ‘I am waiting to see the Rumble Strips’ and am rather surprised to receive a message from the band saying ‘And we’re waiting to play. See you in 20!’
http://www.myspace.com/everythingeverythinguk
The Rumble Strips are the ultimate feelgood party band. The first 15 rows of the crowd are bouncing gleefully and joining in with brassy and cheerful album tracks such as ‘Alarm Clock’, ‘Clouds’ and ‘No Soul’. We also get a handful of newbies including ‘Daniel’ and ‘London.’ A stage invader pops up to cheerfully clap the backs of every band member and yell into the mics while security make a half-assed effort to drag him off. I leave with high spirits. You cannot fail to please with a good Rumble Strips track.
http://www.myspace.com/rumblestripsuk
The Maccabees are on at the Corn Exchange tonight, but the queue is four miles long and I have no patience. My good mood starts to disappear as I splash across Brighton in the search for the Duke Of York Picturehouse. I came here last year yet still managed to stand outside without recognising it before tramping halfway round the block in a sulk. I was in time to see Teitur (pronounced ‘Tayter’) from the Faroe Islands, replete with toy keyboard, striking bass and lullaby melodies. The songs don’t really fit together, like random jigsaw pieces oddly crammed into place, and the vocals tend to flap weakly at times, but when all goes well, it’s not bad.
http://www.myspace.com/teitur
It’s a shame this gig was in a cinema as due to the lateness of the hour, people started drifting off shortly before Cocoon came onstage. French duo Mark and Morgane are sweet, friendly and not entirely professional, breaking into giggles at the slightest thing. They play today minus their band; beautiful, heartfelt charm present in their tunes. Despite the fact I was almost dozing in the chilly seating, Cocoon were one of my festival highlights.
http://www.myspace.com/listentococoon
FRI 15th MAY
After rolling out of bed and arriving at the nearest pub for a decent cooked breakfast, I'm feeling seriously impressed at the number of bruises on my arms from the previous night's barrier activity. At 11.55 I'm stood outside the Pavilion Theatre, watching minor indie bands walk past and impatiently waiting for the rest of mintsouth to leg it across the city. They arrive, panting slightly, and we head off for our first proper celeb greeting of the festival: an interview with Orlando Weeks, lead singer of The Maccabees. Sitting in the cafe next door, it's obvious he also had a late one, but on the whole is bearing up well.
Back at The Thistle Hotel, where I spy The Futureheads' Ross Millard mingling with the pretty people. The celeb spotting doesn't end there. We have a quick chat with Thomas Tantrum to see how they're enjoying their time. At the conference with Spotify head honcho Daniel Ek, I look round to see Radio 1's Huw Stephens sat three rows behind me. If this wasn't excitement enough, a man in front of me puts his hand up and introduces himself to the room as “Jake Shillingford, artist.” Jake Shillingford? The Jake Shillingford of Britpop heydayers My Life Story? Could this day get any better?
No, it actually couldn't. Po Na Na was one-in-one-out so I was unable to enjoy Slow Club and Casiokids. Tramping through the wind and general street gudge, I instead make my way to the Unitarian Church to see what was afoot. First up is Kurran and The Wolfnotes, fronted by what appears to be a pirate and a Pipette. They play plinky and heartfelt folk, sitting down and concentrating hard on the notes. They're closely followed by the gentle tones of New York folktress Leona Naess, though she does betray her calm exterior with some annoyance that the spelling of her name was completely cacked up in the official programme.
http://www.myspace.com/kurranandthewolfnotes
http://www.myspace.com/leonanaess
One of the stars of the night was undoubtedly the harassed caretaker, who appeared onstage halfway through the night to remind us we are very lucky to be drinking beer in a church, but could we please chuck our cans in the bins instead of leaving lager spittled cups rolling around the sacred space. He is given whoops for his trouble.
It was a hard act to follow, but Ex Lovers just about managed with their blend of non-offensive, easy-going rock, the sort which didn't feel out of place in such sensible surroundings. Almost melancholy at times, the band have a worn familiarity to them, like an old friend who you're immensely fond of, but not entirely sure why. Headlining the Unitarian Church was modern poet Johnny Flynn, tonight without his Sussex Wit troubadours. The music is strong and compelling folk, nicely trussed up with some steel guitar. The crowd has a mighty singalong. http://www.myspace.com/weareexlovers
http://www.myspace.com/johnnyflynn
After a brief nap, brought on by a combination of poor sleep and old age, I braved the wind and the drunken party-goers down by The Arches along the seafront, where I rescued Dan Black from deafening music at Coalition and we nipped across the road to the Thistle Hotel for an interview in the warmth. Neither of us are used to working quite this late. By the time we are done, it is almost 1am.
Back at the Coalition, Huw Stephens is wandering around with a poker face. Ou Est Le Swimming Pool are hopping around onstage through cascades of 80s synth, swapping between dance and rap. They're enjoyable, though sadly their name is the best thing about them. In between acts, the Lovebox Allstars DJs some poundingly optimistic house with a taste of trance. Meanwhile, I'm trying to avoid date-rape by turning down a sip from an open can (“Oh go on, you can finish it, I'm off in a minute,” says the guy with a full pint in his other hand) and avoiding the clubbing nobheads who turn up in every city on a Friday night. Dan Black seems a slightly odd choice to follow the DJs for enjoyable as he is, the crowd are dancing and in the mood for more house, therefore the cool electro Mika pop has a slightly subduing effect. Luckily the crowd enjoys his stylised dancing and black leather-clad shape-throwing.
http://www.myspace.com/ouestleswimmingpool
http://www.myspace.com/danblacksound
SAT 16th MAY
The festival is starting to take its toll. I look a state, partly because the showers at my hostel are not designed for anyone to spend a minute in without feeling severely depressed and unpleasantly infectious.
First gig today comes after a 20 minute queue up the flock wallpapered stairs of The Prince Albert along with everyone else who wants to see Fight Like Apes. The band seem to be living up to their name at the moment, with a few sporting black eyes and cut foreheads, then opening with a plastic crate dual. The stage set-up is taking far longer than anticipated. “What do you call a woman with one leg? Eileen!” offers the bassist by way of entertainment, then he looks embarrassed and walks off. The room is packed and hot, with the band adding some heat with the buzzsaw synth and hair flailing. An excellent wake up call for a Saturday afternoon.
http://www.myspace.com/fightlikeapesmusic
The main plan for the evening was to camp out at the Honey Club on the Arches, where we managed to get a spot on the balcony. The special guests opening are the enjoyable commercial pop rock beat combo You Animals and their shambolic frontman clambering around the pillars, followed by charmingly tuneful Sky Larkin. Katie Harkin’s method of playing the guitar above her head fails miserably as three guitars break in succession, resulting in her singing the melodies and apologising profusely. At the end their drummer Animal - sorry, Nestor - bodily rolls over the kit and gives Katie a piggyback offstage.
http://www.myspace.com/youanimals
http://www.myspace.com/skylarkinskylarkin
Johnny Foreigner are up next, and they’re not expecting a massive reception. “Shout ‘eee’ if you know who we are, and ‘ooo’ if you’re waiting for Idlewild,” says singer Alexei, shaking his head jokingly at the response. They’re loud and they’re cool, though the vocals aren’t carrying well to the back at all. Another guitarist appears near the end – I believe he’s from Calories, who recently toured with JoFo – to add some raucous power. The band go down a lot better than they thought they would.
http://www.myspace.com/johnnyforeigner
Next come the band everyone has been waiting for, Idlewild. I say ‘everyone’. Frankly I’m a bit disappointed. They’re kicking ass with some grunge punk rock, but to my ears it’s all a bit formulaic and plain. My feet were aching and I was a little annoyed they came back for an encore when I’d have preferred to be in bed with some hot chocolate. The set does absolutely nothing for me until ‘Love Steals Us From Loneliness’ comes on, and then suddenly I feel quite emotional. I’d like to point out I’m in the minority on this one. Everyone in the crowd, particularly the guy in the yellow t shirt who keeps accidentally headbutting the frightened people stood behind him, seems to be having a wonderful time and the front few rows mosh and josh as best they can on the small step at the front. (I loved it, the new stuff is amazing... plus some old punky stuff. Ed)
http://www.myspace.com/idlewild
After Idlewild, I quick march up to Hector’s House, where there’s a queue of people trying to sneak in. I enter the venue and my mood changes significantly. From slightly gloomy and rocky to flashing disco lights and bright colours, my ears perk up. Thanks to Futurecop! for vastly improving my mood with their sexxxy dance music which combines all the (good) chirpy sounds and neon sights of 1987. They were ace and I wish I’d arrived in time to hear more.
http://www.myspace.com/thefuturecop
The last gig of my festival was Thomas Tantrum, Southampton’s premier mischief-making art-pop band. With wonky indie pop tunes and tuneful hiccups zinging out of every speaker (“Please can we have more vocals?” Megan Thomas keeps pleading to a soundman who is presumably either asleep, or deaf after three days of feedback). With bubbly songs full of flavour, it’s a frenetic finish to a fantastic few days. So, who’s coming next year?
http://www.myspace.com/thomastantrum
Previously published on mintsouth.com in May 09
Words - Suzy Sims
Editor - Rob Ball
(c) mintsouth
GREAT ESCAPE FESTIVAL DIARY 2009
THURS 14th MAY
There’s a brisk wind blowing across Brighton seafront, whipping my hair and bashing my bags on my legs as we march towards the Thistle Hotel, home of the delegate check in. After standing in line to have some quite ridiculous photographs of our mintsouth mugs copied onto press passes, we’re away… straight into the bar of the neighbouring Queen’s Hotel. Good work, team.
The Great Escape text service is already in full swing, with reminders popping up about forthcoming street gigs as we find our way to Arc on the front. Up a flight of stairs, round a corner and into a dark, stone-walled room, and we’re not the only people to be starting the festival here. It’s Thursday lunchtime and William Fitzsimmons is onstage. I’m unable to see anything due to the mass of people crowding into the gloom, but there is something comforting about the oak-matured vocals warming the room. When Fitzsimmons emerges, his beard enters the room a good minute before the rest of him. “Set of the festival!” proclaims excited mintsouth editor Rob. Calm down love, we’ve only been here for half an hour…
http://www.myspace.com/williamfitzsimmons
After a bit of time poring gig schedules, changing plans and helping ourselves to several cans of Red Stripe, it’s time to split and head for our evenings of madness. First for me is a wait in the rain outside the gated Audio, a venue which appears to be an underground prison from the outside, but with marginally better décor once you’re down there. I step up the barrier and await Act One, Video Nasties. They appear onstage in the same shirts they wore at their Southampton gig the night before (don’t think I didn’t notice). Opening with an enjoyable waltz, the Nasties are noisy and melodious but not particularly nasty, unless you’re not a fan of the bassist’s extraordinary fringeness. The keyboardist dances like he’s starting an outboard motor. It’s all rather good.
http://www.myspace.com/videonasties
Next up are Mika Miko whose songs are sharp blasts of punk, very short and spicy. From where I’m stood the vocals are being drowned out. The band are made up of fuzzy guitar, high-waisted jeans, telephone mics and saxophone, with a spot of instrument swapping.
http://www.myspace.com/mikamiko
The crowd soon warms up when Dananananaykroyd’s chief screamer Calum Gunn flings himself into the crowd for a dance and a rasping shout. He’s shortly joined by the rest of the band, for they do not shy away from interaction and enjoy an opportunity to show off their dance moves. Drummer/vocalist John Baillie Jr is standing on the barrier when he’s not using the sticks, guitarist Duncan Robertson rubs his guitar across the top of my head, and there are some amused cameramen filming the whole crazy shebang. The lads next to me are going nuts and there’s plenty of shouting, dancing and raucous fun. God, my arms hurt from that barrier.
http://www.myspace.com/dananananaykroyd
Sadly I miss Black Lips as I’m tasked with crossing the rain-filled city to find Komedia. Everything Everything are onstage when I arrive, playing some angular beats mixed with angel voices with very Delays-style harmonies. It’s all very sweet sounding underneath. Meanwhile, I’m busy updating my Twitter feed with ‘I am waiting to see the Rumble Strips’ and am rather surprised to receive a message from the band saying ‘And we’re waiting to play. See you in 20!’
http://www.myspace.com/everythingeverythinguk
The Rumble Strips are the ultimate feelgood party band. The first 15 rows of the crowd are bouncing gleefully and joining in with brassy and cheerful album tracks such as ‘Alarm Clock’, ‘Clouds’ and ‘No Soul’. We also get a handful of newbies including ‘Daniel’ and ‘London.’ A stage invader pops up to cheerfully clap the backs of every band member and yell into the mics while security make a half-assed effort to drag him off. I leave with high spirits. You cannot fail to please with a good Rumble Strips track.
http://www.myspace.com/rumblestripsuk
The Maccabees are on at the Corn Exchange tonight, but the queue is four miles long and I have no patience. My good mood starts to disappear as I splash across Brighton in the search for the Duke Of York Picturehouse. I came here last year yet still managed to stand outside without recognising it before tramping halfway round the block in a sulk. I was in time to see Teitur (pronounced ‘Tayter’) from the Faroe Islands, replete with toy keyboard, striking bass and lullaby melodies. The songs don’t really fit together, like random jigsaw pieces oddly crammed into place, and the vocals tend to flap weakly at times, but when all goes well, it’s not bad.
http://www.myspace.com/teitur
It’s a shame this gig was in a cinema as due to the lateness of the hour, people started drifting off shortly before Cocoon came onstage. French duo Mark and Morgane are sweet, friendly and not entirely professional, breaking into giggles at the slightest thing. They play today minus their band; beautiful, heartfelt charm present in their tunes. Despite the fact I was almost dozing in the chilly seating, Cocoon were one of my festival highlights.
http://www.myspace.com/listentococoon
FRI 15th MAY
After rolling out of bed and arriving at the nearest pub for a decent cooked breakfast, I'm feeling seriously impressed at the number of bruises on my arms from the previous night's barrier activity. At 11.55 I'm stood outside the Pavilion Theatre, watching minor indie bands walk past and impatiently waiting for the rest of mintsouth to leg it across the city. They arrive, panting slightly, and we head off for our first proper celeb greeting of the festival: an interview with Orlando Weeks, lead singer of The Maccabees. Sitting in the cafe next door, it's obvious he also had a late one, but on the whole is bearing up well.
Back at The Thistle Hotel, where I spy The Futureheads' Ross Millard mingling with the pretty people. The celeb spotting doesn't end there. We have a quick chat with Thomas Tantrum to see how they're enjoying their time. At the conference with Spotify head honcho Daniel Ek, I look round to see Radio 1's Huw Stephens sat three rows behind me. If this wasn't excitement enough, a man in front of me puts his hand up and introduces himself to the room as “Jake Shillingford, artist.” Jake Shillingford? The Jake Shillingford of Britpop heydayers My Life Story? Could this day get any better?
No, it actually couldn't. Po Na Na was one-in-one-out so I was unable to enjoy Slow Club and Casiokids. Tramping through the wind and general street gudge, I instead make my way to the Unitarian Church to see what was afoot. First up is Kurran and The Wolfnotes, fronted by what appears to be a pirate and a Pipette. They play plinky and heartfelt folk, sitting down and concentrating hard on the notes. They're closely followed by the gentle tones of New York folktress Leona Naess, though she does betray her calm exterior with some annoyance that the spelling of her name was completely cacked up in the official programme.
http://www.myspace.com/kurranandthewolfnotes
http://www.myspace.com/leonanaess
One of the stars of the night was undoubtedly the harassed caretaker, who appeared onstage halfway through the night to remind us we are very lucky to be drinking beer in a church, but could we please chuck our cans in the bins instead of leaving lager spittled cups rolling around the sacred space. He is given whoops for his trouble.
It was a hard act to follow, but Ex Lovers just about managed with their blend of non-offensive, easy-going rock, the sort which didn't feel out of place in such sensible surroundings. Almost melancholy at times, the band have a worn familiarity to them, like an old friend who you're immensely fond of, but not entirely sure why. Headlining the Unitarian Church was modern poet Johnny Flynn, tonight without his Sussex Wit troubadours. The music is strong and compelling folk, nicely trussed up with some steel guitar. The crowd has a mighty singalong. http://www.myspace.com/weareexlovers
http://www.myspace.com/johnnyflynn
After a brief nap, brought on by a combination of poor sleep and old age, I braved the wind and the drunken party-goers down by The Arches along the seafront, where I rescued Dan Black from deafening music at Coalition and we nipped across the road to the Thistle Hotel for an interview in the warmth. Neither of us are used to working quite this late. By the time we are done, it is almost 1am.
Back at the Coalition, Huw Stephens is wandering around with a poker face. Ou Est Le Swimming Pool are hopping around onstage through cascades of 80s synth, swapping between dance and rap. They're enjoyable, though sadly their name is the best thing about them. In between acts, the Lovebox Allstars DJs some poundingly optimistic house with a taste of trance. Meanwhile, I'm trying to avoid date-rape by turning down a sip from an open can (“Oh go on, you can finish it, I'm off in a minute,” says the guy with a full pint in his other hand) and avoiding the clubbing nobheads who turn up in every city on a Friday night. Dan Black seems a slightly odd choice to follow the DJs for enjoyable as he is, the crowd are dancing and in the mood for more house, therefore the cool electro Mika pop has a slightly subduing effect. Luckily the crowd enjoys his stylised dancing and black leather-clad shape-throwing.
http://www.myspace.com/ouestleswimmingpool
http://www.myspace.com/danblacksound
SAT 16th MAY
The festival is starting to take its toll. I look a state, partly because the showers at my hostel are not designed for anyone to spend a minute in without feeling severely depressed and unpleasantly infectious.
First gig today comes after a 20 minute queue up the flock wallpapered stairs of The Prince Albert along with everyone else who wants to see Fight Like Apes. The band seem to be living up to their name at the moment, with a few sporting black eyes and cut foreheads, then opening with a plastic crate dual. The stage set-up is taking far longer than anticipated. “What do you call a woman with one leg? Eileen!” offers the bassist by way of entertainment, then he looks embarrassed and walks off. The room is packed and hot, with the band adding some heat with the buzzsaw synth and hair flailing. An excellent wake up call for a Saturday afternoon.
http://www.myspace.com/fightlikeapesmusic
The main plan for the evening was to camp out at the Honey Club on the Arches, where we managed to get a spot on the balcony. The special guests opening are the enjoyable commercial pop rock beat combo You Animals and their shambolic frontman clambering around the pillars, followed by charmingly tuneful Sky Larkin. Katie Harkin’s method of playing the guitar above her head fails miserably as three guitars break in succession, resulting in her singing the melodies and apologising profusely. At the end their drummer Animal - sorry, Nestor - bodily rolls over the kit and gives Katie a piggyback offstage.
http://www.myspace.com/youanimals
http://www.myspace.com/skylarkinskylarkin
Johnny Foreigner are up next, and they’re not expecting a massive reception. “Shout ‘eee’ if you know who we are, and ‘ooo’ if you’re waiting for Idlewild,” says singer Alexei, shaking his head jokingly at the response. They’re loud and they’re cool, though the vocals aren’t carrying well to the back at all. Another guitarist appears near the end – I believe he’s from Calories, who recently toured with JoFo – to add some raucous power. The band go down a lot better than they thought they would.
http://www.myspace.com/johnnyforeigner
Next come the band everyone has been waiting for, Idlewild. I say ‘everyone’. Frankly I’m a bit disappointed. They’re kicking ass with some grunge punk rock, but to my ears it’s all a bit formulaic and plain. My feet were aching and I was a little annoyed they came back for an encore when I’d have preferred to be in bed with some hot chocolate. The set does absolutely nothing for me until ‘Love Steals Us From Loneliness’ comes on, and then suddenly I feel quite emotional. I’d like to point out I’m in the minority on this one. Everyone in the crowd, particularly the guy in the yellow t shirt who keeps accidentally headbutting the frightened people stood behind him, seems to be having a wonderful time and the front few rows mosh and josh as best they can on the small step at the front. (I loved it, the new stuff is amazing... plus some old punky stuff. Ed)
http://www.myspace.com/idlewild
After Idlewild, I quick march up to Hector’s House, where there’s a queue of people trying to sneak in. I enter the venue and my mood changes significantly. From slightly gloomy and rocky to flashing disco lights and bright colours, my ears perk up. Thanks to Futurecop! for vastly improving my mood with their sexxxy dance music which combines all the (good) chirpy sounds and neon sights of 1987. They were ace and I wish I’d arrived in time to hear more.
http://www.myspace.com/thefuturecop
The last gig of my festival was Thomas Tantrum, Southampton’s premier mischief-making art-pop band. With wonky indie pop tunes and tuneful hiccups zinging out of every speaker (“Please can we have more vocals?” Megan Thomas keeps pleading to a soundman who is presumably either asleep, or deaf after three days of feedback). With bubbly songs full of flavour, it’s a frenetic finish to a fantastic few days. So, who’s coming next year?
http://www.myspace.com/thomastantrum
Wednesday, 13 February 2008
Single Reviews - May 07
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd
Adjágas - Lihkolaš
Ever Records, 14th May 2007
Curious. Plinky plonk folk - this wasn't intended for Eurovision was it? We hope not, as Norway doesn't really have a habit of picking highly successful songs (says someone from the home of Scooch, Gemini and the other losers). This is a real oddity from the Sami group, who were apparently set to open Glastonbury's Pyramid Stage in 2005 before flooding put an end to most of that. If you like European folk, chilled acoustic and a feeling of calm washing over you, then listen to this. Just over halfway it mutates into a waving piano with mournful strings. I have absolutely no idea what they're saying though, as jeg snakker ikke norsk (just that one line. Three weeks of Linguaphone, and that's all I got).
The second track 'Mun Ja Mun' reminds me of those chanting monks which were big for some reason in the mid 90s; this one bumps and shuffles along. Coffee house music.
Adjágas
-----
Josh Pyke - Middle Of The Hill
Joy League Records, 23rd April / 7th May 2007
Tense and dampened strums on this acoustic, indie rock song. Josh Pyke is an Aussie, although confusingly we seem to remember him being included in a recent 'British Invasion of SXSW' CD in Clash. Middle Of The Hill has a bit of a storytelling trip down memory lane set to grooving guitars with a slightly downbeat air about it. In some places it sounds like a less complex The Shins, and matures into a song which is charmingly rustic, perhaps like the house he mentions. ‘I don't pay enough attention to the good things when I got ‘em’. Learn from Josh and listen to this CD. Sweet and short. We like it.
Josh Pyke
-----
Let's Wrestle - Song For ABBA Tribute Record
Marquis Cha Cha , 14th May 2007
Possibly the best song title we've heard in a long while. Understated indie pop. The vocals are ever so slightly Eddie Argos. It sounds a little like it's detuning during the chorus which we particularly enjoy.
'Can you get that knife right out my back now please... And if the Book of Love says Right On, I say Fuck Off'. Such polite boys.
It's full of homemade charm and the guitar is reminiscent of early Pulp (perhaps 'Freaks' etc) The other songs on here are 'Quazar Blues', which has some terrifying roars and a silent break, because silent breaks are cool. 'I Want To Be In Husker Du' is led with a grooving bassline, drunkenly sliding around.
My sister called them a poor man's Art Brut, but I actually prefer them.
Let's Wrestle
-----
The Maccabees - Precious Time
Polydor, 7th May 2007
'Precious Time' starts with hyperactive charm. I love its different sections, from the clicking ‘Let’s take our precious time about it’ singalong to the softer verses, to the crowdrocking bits where the moshpit is dictated by the heavy guitars and overexcited drums.
It's a great song from The Maccabees and was enjoyed by everyone in the office, which is generally unusual. ‘Time can mean so much, are you still mine?' Sweet, and much more subtle than that Mark Ronson.
The Maccabees
-----
The Scare - Bats! Bats! Bats
Dance To The Radio, 7th May 2007
The Stills - Destroyer
Drowned In Sound Recordings, 14th May 2007
'Destroyer' is the first track to be released from The Stills album 'Without Feathers', their first for four years. It's punchy and smooth with colourful brass adding some spice to the indie rock proceedings.
We like this muchos. It jogs along with purpose and surprisingly upbeat anger ('I will destroy you...') We wouldn't like to be on the receiving end of their seething wrath. Good tune though.
'Only when you're dead I'll make you mine'? We're sure there's laws against that sort of thing, sonny.
The Stills
-----
Tiny Dancers - Hannah We Know
EMI, 28th May 2007
'Hannah We Know', the second release from Tiny Dancers, comes galloping along, all long legs and broad smile. Thigh-slapping and foot-tapping, it's a cheerful one which builds and builds until you find yourself running gaily alongside with a similar beam on your face. We think this is impossible to dislike.
Tiny Dancers
-----
Willy Mason - We Can Be Strong
Virgin Records, 14th May 2007
Willy Mason 'We Can Be Strong' is a charming, mostly acoustic, bluesy downbeat piece which stalks across the grass and sits in the corner with arms crossed, feet on the table, refusing to make eye contact.
Willy Mason has a surprisingly booming and wise voice which instantly takes control of the situation. That female voice you hear is KT Tunstall, by the way. Willy plays guitar, piano and sings, possibly not all at once, though he does strike us as being particularly talented.
Willy Mason
Previously published on Native.tv http://www.native.tv in May 2007
(c) Niche News & Publishing Ltd
Adjágas - Lihkolaš
Ever Records, 14th May 2007
Curious. Plinky plonk folk - this wasn't intended for Eurovision was it? We hope not, as Norway doesn't really have a habit of picking highly successful songs (says someone from the home of Scooch, Gemini and the other losers). This is a real oddity from the Sami group, who were apparently set to open Glastonbury's Pyramid Stage in 2005 before flooding put an end to most of that. If you like European folk, chilled acoustic and a feeling of calm washing over you, then listen to this. Just over halfway it mutates into a waving piano with mournful strings. I have absolutely no idea what they're saying though, as jeg snakker ikke norsk (just that one line. Three weeks of Linguaphone, and that's all I got).
The second track 'Mun Ja Mun' reminds me of those chanting monks which were big for some reason in the mid 90s; this one bumps and shuffles along. Coffee house music.
Adjágas
-----
Josh Pyke - Middle Of The Hill
Joy League Records, 23rd April / 7th May 2007
Tense and dampened strums on this acoustic, indie rock song. Josh Pyke is an Aussie, although confusingly we seem to remember him being included in a recent 'British Invasion of SXSW' CD in Clash. Middle Of The Hill has a bit of a storytelling trip down memory lane set to grooving guitars with a slightly downbeat air about it. In some places it sounds like a less complex The Shins, and matures into a song which is charmingly rustic, perhaps like the house he mentions. ‘I don't pay enough attention to the good things when I got ‘em’. Learn from Josh and listen to this CD. Sweet and short. We like it.
Josh Pyke
-----
Let's Wrestle - Song For ABBA Tribute Record
Marquis Cha Cha , 14th May 2007
Possibly the best song title we've heard in a long while. Understated indie pop. The vocals are ever so slightly Eddie Argos. It sounds a little like it's detuning during the chorus which we particularly enjoy.
'Can you get that knife right out my back now please... And if the Book of Love says Right On, I say Fuck Off'. Such polite boys.
It's full of homemade charm and the guitar is reminiscent of early Pulp (perhaps 'Freaks' etc) The other songs on here are 'Quazar Blues', which has some terrifying roars and a silent break, because silent breaks are cool. 'I Want To Be In Husker Du' is led with a grooving bassline, drunkenly sliding around.
My sister called them a poor man's Art Brut, but I actually prefer them.
Let's Wrestle
-----
The Maccabees - Precious Time
Polydor, 7th May 2007
'Precious Time' starts with hyperactive charm. I love its different sections, from the clicking ‘Let’s take our precious time about it’ singalong to the softer verses, to the crowdrocking bits where the moshpit is dictated by the heavy guitars and overexcited drums.
It's a great song from The Maccabees and was enjoyed by everyone in the office, which is generally unusual. ‘Time can mean so much, are you still mine?' Sweet, and much more subtle than that Mark Ronson.
The Maccabees
-----
The Scare - Bats! Bats! Bats
Dance To The Radio, 7th May 2007
Or 'Punk Punk Punk’ as their MySpace description goes. The Scare are originally all the way from Brisbane and are now noisily invading our fair shores courtesy of Dance To The Radio’s ‘Listen to The Silence’ releases, which involve bands not from Leeds. Reading my notes for 'Bats! Bats! Bats!', I seem to have written ‘Dark. Thunderous. Class. Yell!’
In places it’s vaguely Pink Grease, that raw punky sound. Nice and sweaty and we can see it being part of the seriously cool music underground. B-side ‘Sister (What’s Good For You)’ is a synth-led nailbiter with tearing guitars, and it’s damn good. Scenesters, keep an eye for their mayhem at the Great Escape Festival shortly after the single release.
-----The Stills - Destroyer
Drowned In Sound Recordings, 14th May 2007
'Destroyer' is the first track to be released from The Stills album 'Without Feathers', their first for four years. It's punchy and smooth with colourful brass adding some spice to the indie rock proceedings.
We like this muchos. It jogs along with purpose and surprisingly upbeat anger ('I will destroy you...') We wouldn't like to be on the receiving end of their seething wrath. Good tune though.
'Only when you're dead I'll make you mine'? We're sure there's laws against that sort of thing, sonny.
The Stills
-----
Tiny Dancers - Hannah We Know
EMI, 28th May 2007
'Hannah We Know', the second release from Tiny Dancers, comes galloping along, all long legs and broad smile. Thigh-slapping and foot-tapping, it's a cheerful one which builds and builds until you find yourself running gaily alongside with a similar beam on your face. We think this is impossible to dislike.
Tiny Dancers
-----
Willy Mason - We Can Be Strong
Virgin Records, 14th May 2007
Willy Mason 'We Can Be Strong' is a charming, mostly acoustic, bluesy downbeat piece which stalks across the grass and sits in the corner with arms crossed, feet on the table, refusing to make eye contact.
Willy Mason has a surprisingly booming and wise voice which instantly takes control of the situation. That female voice you hear is KT Tunstall, by the way. Willy plays guitar, piano and sings, possibly not all at once, though he does strike us as being particularly talented.
Willy Mason
Monday, 28 January 2008
Gig Reviews - Apr 07 - Amy Macdonald, Fields, The Maccabees
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv in April 2007
(c) Niche News & Publishing Ltd
AMY MACDONALD / SAM BEETON
@ Eve Club, London, 25th April 2007
The newest owners of the Eve Club, just off Regent Street, must be suffering seven years of bad luck. They’re revelling in it through, with broken mirrors scattered across the ceiling like solid, upside-down puddles, reflecting the atmospheric lighting.
Coincidentally, seven years is roughly the time it takes the average gig goer to save up for a bottle of beer in said club. £4.50 a bottle! Bad luck indeed. Our horror cannot be sufficiently expressed with just the one exclamation mark.
!!!!!!!!
That’s better. It’s a stunning little venue, beautifully decorated with colour-changing ice patterns around the bar and much foliage; although being underground, the mobile phone signal is shit, forcing my gig buddy to send Sam Beeton’s street team hunting for me (and his ticket).
I arrive towards the end of Sam Beeton’s set. He’s an earnest looking singer-songwriter clutching an acoustic guitar and trying his darndest to wake up the small crowd which is trying to stand as far away from the stage as possible without looking rude. He seemed friendly and pleasant, and there’s a track up for grabs from his website.
Afterwards, Amy MacDonald wanders out from behind the curtain, hair tied to one side, looking like Rose Pipette’s sophisticated twin. Resplendent in silver vest top and armed with a guitar, she has a surprisingly deep and striking voice. Her music has similarities with KT Tunstall and The Kooks in places, along with Scottish folk.
First track ‘This Is The Life’ elicits casual headbopping from the crowd, apart from Twinkletoes at the front who is jigging out of time and unselfconsciously around what appears to be a man bag. He’s approximately 15 feet tall and stood directly in front of Amy. She can’t miss him.
At the end of the track, she invites the audience to stand marginally closer to the stage, shyly saying they don’t smell. Everyone does what she says and shuffles closer.
Forthcoming single ‘Poison Prince’ is next. This one’s already receiving radio play off Virgin and XFM and the like, and it’s a catchy little number. More people push forwards and jog along to this. Other tracks tonight are ‘Youth Of Today’, written when she was 15 “after getting in trouble with a shopkeeper,” ‘LA’, downloadable from her website and future summer single ‘Mr Rock & Roll’, a nice & lively one.
The set is briefly interrupted with technical difficulties forcing a guitar swap and Amy apologises profusely and asks if anyone knows any jokes to stop “the awkward silence.” Her band say they only know dirty ones.
‘The Footballer’s Wife’ is an angry diatribe against non-celebrity celebrities; your reality TV contestants as opposed to your Marilyn Monroes. ‘Barrowlands Ballroom’ is a lively stormer and I could see it going down immensely well in Glasgow, especially at the Barrowlands itself. I half expected a stage invasion during this one, such was the level of Scottishness in the crowd (I briefly wondered if it was a requirement to get in and I had somehow accidentally sneaked past their radar).
It was a short set which finished with Killers-inspired ‘Run’. Amy said tonight was the first time she’d had dancers – Mr Twinkletoes looked rather pleased with himself – and claimed this song would be too hard to groove along to. Oh, but he managed it.
The songs are strummed indie rockers with a poppy tinge and are definitely radio-friendly and personal. Great night and great songs from a singer with charm and humanity. Amy MacDonald is a delicate star in the making. She’s already on her way, having only supported Travis and played to a far larger crowd the previous night. It can’t be too long before she outgrows the likes of the beautiful Eve. Let’s just hope that as she rises, the alcohol prices fall…
Amy MacDonald
Sam Beeton
-----
FIELDS / HUSH THE MANY / RED CAMPION
@ The Wedgewood Rooms, Southsea, 18th April 2007
Happy and joyful, Fields get the crowd smiling
Despite spending ages looking for parking, we’ve arrived surprisingly early to see Fields play, only 15 minutes after the doors opened. I’m usually early for gigs though – I’m not one of those journos at the back with pen and paper, I’m usually at the front trying to text myself random notes while people jump up and down and knock me about. It’s more fun that way. But there aren’t many people around at all, and there’s already an ominous half circle of folded arms forming several metres from the stage.
First up are local band Red Campion. At once gentle and powering, their music predicted overcast times ahead and was heavy as treacle. My friend was impressed to see the drummer playing with ‘pastry brushes’ and commented that the speed of his playing/whisking surely meant he was an expert at making omelettes.
The band were sadly suffering technical difficulties, resulting in a few delays and guitar swaps, but the band’s banter and cheerful weariness prevented the audience from becoming too distracted. The cello gave a sense of striking drama and authority to the music.
Next on stage were Hush The Many. They took to the stage, heads bowed as if deep in thought. This band also had a cello centre stage, but this one was an amazing shape, carved and spacious. It bore an uncanny resemblance to a skeleton and we felt slightly afraid.
The set started with a repetitive, melodramatic boom from the drums. It had the potential to annoy everyone – then suddenly Hush The Many exploded into a wicked folky, vibrant racket. It was awesome and our jaws dropped. At the end there was a stunned silence then uproarious applause. Main vocalist Nima explained they’d never opened with that one before.
The songs were retro, echoing and plaintive. They had a sense of loneliness and power. Stylish bassist Alexandra had such a delicate whisper of a voice, and Nima was all charm although slightly bewildered at how well they were going down. Violinist Matt was a new addition for the night to replace an absent guitarist, and he fitted in just dandy.
The half-circle of folded arms, which had been edging closer, turned into a group of tall people obscuring my view. Good to see people getting to the front though. Overrunning slightly after more technical difficulties, we wondered if Fields would be allowed to play a full set. No-one seemed to mind them running way past 11pm though, especially when we sang Happy Birthday to Nima halfway through.
Singer/guitarist Nick Peill, singer/keyboardist Thorunn Antonia, guitarist Jamie Putnam and bassist Matty Derham were uplifting and cheerful, with the synthesisers arcing sky-high over proceedings as the band openly fought with demons in their guitars. There was a definite dress code of stripes, apart from one of the guitarists (or was it the bassist?) who appeared to be wearing a low cut woman’s top.
The crowd spent much of the set asking for ‘Song For The Fields’. The band would tease everyone back – “and this track… is not ‘Song For The Fields’,” vocalist Nick Peill would say, while Thorunn laughed and managed the amazing trick of making an accordion look sexy. Songs tonight included 'Schoolbooks' and 'Charming The Flames'.
There is something comforting in the happiness of Fields. The band had perfect harmonies and sounded joyful, though many of the tracks sounded very similar in style but it might just be that I'm unfamiliar with their work. They were beautifully enjoyable, although it was Hush The Many who stunned the crowd.
Fields
Hush The Many
Red Campion
-----
THE MACCABEES / JACK PEÑATE
@ The Wedgewood Rooms, Southsea, 26th April 2007
It’s amazing the difference the lack of a support act can have on the crowd. Gigs generally have three bands, and whoever is first onstage usually has not much in the way of an audience as people take their time arriving.
Tonight however, it’s just The Maccabees and Jack Peñate, both well-known names and great fun. Everyone is here on time. The Wedgewood Rooms has sold out. Half an hour after doors opening and it’s already taking an age to get served at the bar. Anyway, back to the gig...
My gig buddy is looking nervous. The person I usually drag around is off ill so someone else has stepped in to relieve me of my spare ticket. The thing is, he’s never been to a gig before and I think my tales of sweaty crowdsurfers, stage invasions and bruises the size of planets might have tipped him into panic. He goes to drown his nerves in vodka (apparently it’s healthier than beer). Anyway, back to the gig...
Jack Peñate takes the stage in jeans and a lumberjack shirt. We’re stood behind some of his main fans who are bounding around each other in a rugby huddle, yelling the words and phoning their friends. In some places his music reminds me of The Jam or The Specials. It’s summery, indie ska in places, and is very enjoyable.
It only takes a few songs for the crowdsurfers to start queuing up to hurl themselves at the stage fruitlessly, each one landing safe in the arms of a burly bouncer.
My friend is smiling and nodding along to the music. He’s not scared any more. Thank goodness for that. Songs tonight include recent single ‘Spit At Stars’, and everyone yells along.
Jack Peñate himself is pummelling his guitar and occasionally launching himself towards the mic with the unhinged stare of a madman. He recommends the barber around the corner, and slates the Mexican restaurant for its crap service. His set is lively and great fun.
It doesn’t take too long for The Maccabees to walk out on stage – I thought with only two acts there would be enormous gaps between the sets, but it’s not that bad. Up go the crowdsurfers again and the rest of the audience moves closer for some bouncing. Orlando Weeks’ overly emotional voice yelps and wavers dramatically through their songs, while the guitars twist and jerk. The Maccabees have a wonderfully creative style and bite to them, but it's not so bizarre that people aren't sure how to react. Everyone is bouncing on the spot and waving their arms.
The set tonight includes ‘Latchmere’, ‘About Your Dress’, next single ‘Precious Time’, ‘All Your Rows’, ‘Tissue Shoulders’, and the beautifully named (and sounding) ‘Toothpaste Kisses’.
There’s a little happy hardcore of Maccabees fans stood at the front, hands aloft and waving exactly in time with the drumbeats, even performing little rolls and the like. Every so often the first few rows are illuminated with brilliant purple strobe lighting, making everything seem a little crazy.
The chant for the encore goes a little bit like ‘FIRSTLOVEFIRSTLOVEFIRSTLOVE’ but it’s a reasonably calm cheer. The crowd knows the band are coming back on, so everyone finishes their drinks and waits patiently. We’re then treated to ‘Sore Throat’ and a brilliant performance of ‘First Love’, a song which starts all gentleness and warmth before stirring into tense emotion and making everyone jump about.
It was a top night out and both bands are brilliantly lively. Southerners can take comfort in knowing both have now been confirmed for Brighton's Great Escape, so if you missed your chance to catch up on them tonight then wait a couple of weeks before heading over to the Sussex sands/stones.
‘Nothing's perfect / I'm hoping I'll do’. Thank you Maccabees, you certainly will.
The Maccabees
Jack Peñate
Previously published on Native.tv http://www.native.tv in April 2007
(c) Niche News & Publishing Ltd
AMY MACDONALD / SAM BEETON
@ Eve Club, London, 25th April 2007
The newest owners of the Eve Club, just off Regent Street, must be suffering seven years of bad luck. They’re revelling in it through, with broken mirrors scattered across the ceiling like solid, upside-down puddles, reflecting the atmospheric lighting.
Coincidentally, seven years is roughly the time it takes the average gig goer to save up for a bottle of beer in said club. £4.50 a bottle! Bad luck indeed. Our horror cannot be sufficiently expressed with just the one exclamation mark.
!!!!!!!!
That’s better. It’s a stunning little venue, beautifully decorated with colour-changing ice patterns around the bar and much foliage; although being underground, the mobile phone signal is shit, forcing my gig buddy to send Sam Beeton’s street team hunting for me (and his ticket).
I arrive towards the end of Sam Beeton’s set. He’s an earnest looking singer-songwriter clutching an acoustic guitar and trying his darndest to wake up the small crowd which is trying to stand as far away from the stage as possible without looking rude. He seemed friendly and pleasant, and there’s a track up for grabs from his website.
Afterwards, Amy MacDonald wanders out from behind the curtain, hair tied to one side, looking like Rose Pipette’s sophisticated twin. Resplendent in silver vest top and armed with a guitar, she has a surprisingly deep and striking voice. Her music has similarities with KT Tunstall and The Kooks in places, along with Scottish folk.
First track ‘This Is The Life’ elicits casual headbopping from the crowd, apart from Twinkletoes at the front who is jigging out of time and unselfconsciously around what appears to be a man bag. He’s approximately 15 feet tall and stood directly in front of Amy. She can’t miss him.
At the end of the track, she invites the audience to stand marginally closer to the stage, shyly saying they don’t smell. Everyone does what she says and shuffles closer.
Forthcoming single ‘Poison Prince’ is next. This one’s already receiving radio play off Virgin and XFM and the like, and it’s a catchy little number. More people push forwards and jog along to this. Other tracks tonight are ‘Youth Of Today’, written when she was 15 “after getting in trouble with a shopkeeper,” ‘LA’, downloadable from her website and future summer single ‘Mr Rock & Roll’, a nice & lively one.
The set is briefly interrupted with technical difficulties forcing a guitar swap and Amy apologises profusely and asks if anyone knows any jokes to stop “the awkward silence.” Her band say they only know dirty ones.
‘The Footballer’s Wife’ is an angry diatribe against non-celebrity celebrities; your reality TV contestants as opposed to your Marilyn Monroes. ‘Barrowlands Ballroom’ is a lively stormer and I could see it going down immensely well in Glasgow, especially at the Barrowlands itself. I half expected a stage invasion during this one, such was the level of Scottishness in the crowd (I briefly wondered if it was a requirement to get in and I had somehow accidentally sneaked past their radar).
It was a short set which finished with Killers-inspired ‘Run’. Amy said tonight was the first time she’d had dancers – Mr Twinkletoes looked rather pleased with himself – and claimed this song would be too hard to groove along to. Oh, but he managed it.
The songs are strummed indie rockers with a poppy tinge and are definitely radio-friendly and personal. Great night and great songs from a singer with charm and humanity. Amy MacDonald is a delicate star in the making. She’s already on her way, having only supported Travis and played to a far larger crowd the previous night. It can’t be too long before she outgrows the likes of the beautiful Eve. Let’s just hope that as she rises, the alcohol prices fall…
Amy MacDonald
Sam Beeton
-----
FIELDS / HUSH THE MANY / RED CAMPION
@ The Wedgewood Rooms, Southsea, 18th April 2007
Happy and joyful, Fields get the crowd smiling
Despite spending ages looking for parking, we’ve arrived surprisingly early to see Fields play, only 15 minutes after the doors opened. I’m usually early for gigs though – I’m not one of those journos at the back with pen and paper, I’m usually at the front trying to text myself random notes while people jump up and down and knock me about. It’s more fun that way. But there aren’t many people around at all, and there’s already an ominous half circle of folded arms forming several metres from the stage.
First up are local band Red Campion. At once gentle and powering, their music predicted overcast times ahead and was heavy as treacle. My friend was impressed to see the drummer playing with ‘pastry brushes’ and commented that the speed of his playing/whisking surely meant he was an expert at making omelettes.
The band were sadly suffering technical difficulties, resulting in a few delays and guitar swaps, but the band’s banter and cheerful weariness prevented the audience from becoming too distracted. The cello gave a sense of striking drama and authority to the music.
Next on stage were Hush The Many. They took to the stage, heads bowed as if deep in thought. This band also had a cello centre stage, but this one was an amazing shape, carved and spacious. It bore an uncanny resemblance to a skeleton and we felt slightly afraid.
The set started with a repetitive, melodramatic boom from the drums. It had the potential to annoy everyone – then suddenly Hush The Many exploded into a wicked folky, vibrant racket. It was awesome and our jaws dropped. At the end there was a stunned silence then uproarious applause. Main vocalist Nima explained they’d never opened with that one before.
The songs were retro, echoing and plaintive. They had a sense of loneliness and power. Stylish bassist Alexandra had such a delicate whisper of a voice, and Nima was all charm although slightly bewildered at how well they were going down. Violinist Matt was a new addition for the night to replace an absent guitarist, and he fitted in just dandy.
The half-circle of folded arms, which had been edging closer, turned into a group of tall people obscuring my view. Good to see people getting to the front though. Overrunning slightly after more technical difficulties, we wondered if Fields would be allowed to play a full set. No-one seemed to mind them running way past 11pm though, especially when we sang Happy Birthday to Nima halfway through.
Singer/guitarist Nick Peill, singer/keyboardist Thorunn Antonia, guitarist Jamie Putnam and bassist Matty Derham were uplifting and cheerful, with the synthesisers arcing sky-high over proceedings as the band openly fought with demons in their guitars. There was a definite dress code of stripes, apart from one of the guitarists (or was it the bassist?) who appeared to be wearing a low cut woman’s top.
The crowd spent much of the set asking for ‘Song For The Fields’. The band would tease everyone back – “and this track… is not ‘Song For The Fields’,” vocalist Nick Peill would say, while Thorunn laughed and managed the amazing trick of making an accordion look sexy. Songs tonight included 'Schoolbooks' and 'Charming The Flames'.
There is something comforting in the happiness of Fields. The band had perfect harmonies and sounded joyful, though many of the tracks sounded very similar in style but it might just be that I'm unfamiliar with their work. They were beautifully enjoyable, although it was Hush The Many who stunned the crowd.
Fields
Hush The Many
Red Campion
-----
THE MACCABEES / JACK PEÑATE
@ The Wedgewood Rooms, Southsea, 26th April 2007
It’s amazing the difference the lack of a support act can have on the crowd. Gigs generally have three bands, and whoever is first onstage usually has not much in the way of an audience as people take their time arriving.
Tonight however, it’s just The Maccabees and Jack Peñate, both well-known names and great fun. Everyone is here on time. The Wedgewood Rooms has sold out. Half an hour after doors opening and it’s already taking an age to get served at the bar. Anyway, back to the gig...
My gig buddy is looking nervous. The person I usually drag around is off ill so someone else has stepped in to relieve me of my spare ticket. The thing is, he’s never been to a gig before and I think my tales of sweaty crowdsurfers, stage invasions and bruises the size of planets might have tipped him into panic. He goes to drown his nerves in vodka (apparently it’s healthier than beer). Anyway, back to the gig...
Jack Peñate takes the stage in jeans and a lumberjack shirt. We’re stood behind some of his main fans who are bounding around each other in a rugby huddle, yelling the words and phoning their friends. In some places his music reminds me of The Jam or The Specials. It’s summery, indie ska in places, and is very enjoyable.
It only takes a few songs for the crowdsurfers to start queuing up to hurl themselves at the stage fruitlessly, each one landing safe in the arms of a burly bouncer.
My friend is smiling and nodding along to the music. He’s not scared any more. Thank goodness for that. Songs tonight include recent single ‘Spit At Stars’, and everyone yells along.
Jack Peñate himself is pummelling his guitar and occasionally launching himself towards the mic with the unhinged stare of a madman. He recommends the barber around the corner, and slates the Mexican restaurant for its crap service. His set is lively and great fun.
It doesn’t take too long for The Maccabees to walk out on stage – I thought with only two acts there would be enormous gaps between the sets, but it’s not that bad. Up go the crowdsurfers again and the rest of the audience moves closer for some bouncing. Orlando Weeks’ overly emotional voice yelps and wavers dramatically through their songs, while the guitars twist and jerk. The Maccabees have a wonderfully creative style and bite to them, but it's not so bizarre that people aren't sure how to react. Everyone is bouncing on the spot and waving their arms.
The set tonight includes ‘Latchmere’, ‘About Your Dress’, next single ‘Precious Time’, ‘All Your Rows’, ‘Tissue Shoulders’, and the beautifully named (and sounding) ‘Toothpaste Kisses’.
There’s a little happy hardcore of Maccabees fans stood at the front, hands aloft and waving exactly in time with the drumbeats, even performing little rolls and the like. Every so often the first few rows are illuminated with brilliant purple strobe lighting, making everything seem a little crazy.
The chant for the encore goes a little bit like ‘FIRSTLOVEFIRSTLOVEFIRSTLOVE’ but it’s a reasonably calm cheer. The crowd knows the band are coming back on, so everyone finishes their drinks and waits patiently. We’re then treated to ‘Sore Throat’ and a brilliant performance of ‘First Love’, a song which starts all gentleness and warmth before stirring into tense emotion and making everyone jump about.
It was a top night out and both bands are brilliantly lively. Southerners can take comfort in knowing both have now been confirmed for Brighton's Great Escape, so if you missed your chance to catch up on them tonight then wait a couple of weeks before heading over to the Sussex sands/stones.
‘Nothing's perfect / I'm hoping I'll do’. Thank you Maccabees, you certainly will.
The Maccabees
Jack Peñate
Sunday, 20 January 2008
Gig Reviews 2006 - The Long Blondes, The Fratellis, Kaiser Chiefs, The Futureheads
I am well aware most of my gigs for 2006 include Kaiser Chiefs and the Pigeon Detectives. This is cos these are the bands I regularly pay out to see and I wasn't having my gig addiction supplied by nice PRs at this time...
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv/
(c) Niche News & Publishing Ltd
THE LONG BLONDES
@ Southampton Joiners, 27th October 2006
I love everything that comes out of the supposedly-labelled ‘New Yorkshire’ scene. The Long Blondes are one of the most exciting bands, with their ‘glamour punk’ melodies making tidal waves in the indie underground and swamping some of the plainer rock acts of the moment.
The band is made up of the stylish Kate Jackson on vocals, Emma Chaplin on guitar, keyboards and backing vocals, Reenie Hollis on bass and backing vocals, Dorian Cox on lead guitar and vocals and the wonderfully named Screech Louder on drums. Unfortunately they suffer from frequent comparison to Pulp, which is something they are proud of but which dogs (are) every (where) single review about them. Oh, done it again. It’s easy to see why though, with the cheerful keyboards, quirky key changes and seriously cool singer.
There’s a bit of a delay before they come onstage, which is good for us because we’ve just come from a friend’s birthday party and hadn’t arrived much before 10pm. Kate strides on in a slinky, figure-hugging striped dress. It’s easy to see why she’s as well known for making the NME Cool List as the band are for their songs.
Kate sneers her way through songs, dancing away and smiling at the audience, quickly switching between friend of the fans and untouchable rock chick. She has an amazing presence and the crowd love it. The setlist includes ‘Weekend Without Makeup’, ‘Appropriation (By Any Other Name)’, ‘You Could Have Both’, ‘Giddy Stratospheres’ and it ends with a happy sing-a-long to ‘Separated By Motorways.’
My friend turns to me halfway through. “I’ve fallen in love,” he says dreamily while gazing at Kate. He’s gay. There’s a girl in the crowd called Rachel and it’s her birthday, so the band quickly adapt the lyrics of new single ‘Once And Never Again’ to “18, you’re only 18 for God’s sake, oh you don’t need a boyfriend.”
“Come back next year and we’ll sing the proper one at you,” says Kate. The birthday girl and her friends are pretty chuffed, judging from the whoops I can hear coming from the front.
There’s a stage invasion at the end. Instead of people crowdsurfing into the drum kit and being pushed offstage, everyone is stood with arms round one another and trying to sing into the microphone. Kate manages the great facial expression of having bewildered, nervous fun. It’s been a great show. The tracks are all catchy and danceable. My friend did complain that some sounded the same, but as he hadn’t heard much of their songs he may just not be used to the style.
My sister comes up to me and gives me a Long Blondes sticker which the man on the merchandise stall gave her for having good hair. She said it was free, but I’m not so sure seeing as I had to give her a tenner for a t-shirt in the first place. The Long Blondes are good, spikey, classy pop fun and I’m sure their album will get the recognition it deserves.
http://www.thelongblondes.co.uk
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02 NME ROCK AND ROLL RIOT TOUR
The Fratellis / The Dykeenies
Portsmouth Guildhall, 8th November 2006
The NME Tour stops off in Portsmouth. Or rather, half of it does
About time. This gig was meant to take place about a month earlier but a change of venue meant a change of date, and of acts.
The Horrors couldn’t make the rescheduled date because they’re causing chaos in the States while the Maccabees are rocking up Leeds. On second thoughts, perhaps we should have been refunded half the ticket price to make up for the fact that half the advertised bands weren’t there. No-one seemed to be complaining though, probably because everyone only wanted to see the Fratellis.
We arrived just before the Dykeenies took the stage. This lot are from sunny Glasgow and are Brian (vocals/synths), Alan and Steven (guitar), Andrew (bass), and John (drums).They were dressed a bit nu-rave, as I’m sure the NME would put it. I wasn’t familiar with any of their tracks, although I did know the name from reading the magazine. The NME had described them as having ‘a natural knack for constructing snappy pop songs,’ and they weren’t wrong. Every song seemed full of excitement, catchiness and synths.
“They’re the British Killers,” my friend says, quite rightly.“Hello Portsmouth!” shouts Brian. “Looking forward to the Fratellis?” Roar. “Can you understand our accents?” Another roar.
We decided to nip out for a quick lemonade as I’d been out all day and was really thirsty. The band hadn’t been playing for long so we thought it would be fine to disappear for a quick drink. We hadn’t banked on the fact that the Guildhall bar is crap. There was a queue about four people deep and twenty across. Around ten minutes later and the queue was still four people deep and twenty across. Another five minutes and we were getting hot and annoyed. A bit of exploring around the venue and we discovered all the vending machines were switched off. Great. We arrived back in to see the end of the Dykeenies as they roused everyone in readiness for the headliners. They were an excellent sounding band that I’ll definitely have to check out.
A few ripples of ‘Chelsea Dagger’ travelled around the venue as people get worked up about the Fratellis. The band haven’t been playing together for long. Jon, Barry and Mince (according to their website, Mince was a (lovable) stoner, Barry was a car thief and Jon was just a Jon) formed in spring 2005 and soon caught the attention of everyone with their raucous tunes. The first track of theirs I’d heard was ‘Cigarello’ which I thought would be a cracker live; however friends had warned me they had a habit of sounding a bit like a redneck hoedown, what with all the whoops and the country-style chords.
The Fratellis stepped on stage with a wave and a smile. Mince was proudly showing off his Scottishness by wearing a vest and drinking from a two-litre bottle of Irn-Bru onstage from behind his drums. Jon waved at a few people in the front row, then the band kicked into ‘Creepin’ Up The Backstairs’ and everyone went nuts. Other songs they played were ‘Doginabag’, ‘Flathead’, ‘Ole Black and Blue Eyes’, ‘Everybody Knows You Cried Last Night’, ‘Cigarello’, ‘Vince The Loveable Stoner’ (cue audience ‘Ah-ha’), all familiar to people with the album (as it seemed everyone in here owned) or with access to the Budhill Singles Club. Unlike many of the other shows on this tour, the whole show wasn’t taken up with the crowd singing the ‘Chelsea Dagger’ riff – yes, there was a bit of it here and there, but not as much as people say in there was in other shows.I was a bit tired after my day so I hadn’t stood too close to the front.
Halfway through I felt a bit disappointed that I wasn’t closer, with crowdsurfers and the odd beer hurling through the air and the crowd rising with their hands up in sheer joy. I was also getting fed up of the woman next to me. She looked about 45 and had clearly drunk too much. Much of the floor was her own as she danced around into everyone, once grabbing the couple in front and saying ‘So which of you liked the Fratellis first then?’ Her friend stood stock-still behind her, probably because if she moved she’d have gone down like a felled tree. Her eyes were glazed and she wasn’t doing much. After a failed attempt to enter the moshpit, they retreated to the corner and collapsed on the floor.
I glanced up to see how everyone on the balcony was doing. Everyone was swaying in time, and one person was standing up and having a little jig. There’s not very much in the way of audience interaction, but Jon occasionally smiles at people in the front row. The odd plastic cup is lobbed on stage, though whether a sign of appreciation Glasgow-style or someone hating the set, I can’t tell.
The band are good at rocking their way through the tracks and the audience love it, but there’s something missing. The band almost seem to be on autopilot and while the song’s are great and the crowd are energetic, something doesn’t quite feel right.
There was a brief interval so we popped out for some light and cool air. My friend nudged me and pointed out the Dykeenies stood in a group chatting by the bar. Hopefully they had a rider, either that or the poor bastards had been queuing for the past hour like everyone else. We bumped into a friend as she rushed out the bar. She’d been queuing for half an hour so had missed half the Fratellis and looked a bit harried.
Jon reappeared to sing a solo acoustic version of ‘For The Girl’. The Fratellis got on with their last track, which sounded a lot like T-Rex. After a few seconds I realised it was a dirty glam rock version of Goldfrapp’s ‘Ooh La La,’ which sounded ace.
The show finished early – well, they couldn’t really do a two hour set each - and we got out the car park and were home before 11pm, even with stopping to buy a cheap poster on the way out. I was sad to have missed the Maccabees, pleased to have heard the Dykeenies, and was buzzing after the headliners. Mon the Fratellis!
http://www.nme.com
http://www.thedykeenies.com
http://www.thefratellis.com
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KAISER CHIEFS / THE PIGEON DETECTIVES
@ Hof Ter Lo, Antwerp, 10th November 2006
There’s something we have to get straight. Travelling abroad to see a band does NOT count as stalking. Travelling and learning about the world is good. And if you can see some bands while you’re there then that’s just an added bonus.
And that’s why I was stood outside the Hof Ter Lo in Antwerp, shivering slightly and waiting to go in and see the Kaiser Chiefs. There was a large group of us who had made the journey all the way from the UK (or Germany, or Finland) and we were keeping warm by drinking cans of raspberry beer in between cans of cherry beer and other cans of raspberry beer. A few of the girls were very excited because a couple of the Chiefs had been outside to say hi and sign autos a few hours earlier. The door wasn’t properly locked and occasionally someone would fall through it with a crash and a shriek, causing security to frown at us.
At the moment, excitement was building again because the camera crew which had been marching in and out of the venue was walking in our direction. The smiley Belgian reporter (a friend later told us it was Dave Peters, a famous radio presenter) makes a beeline for us, so three of us English girls linked arms and grinned slightly manically.
“Where are you from?” he asks.
“English!” Oh dear. “Are any of you from Leeds?” Helen and Sarah are, and they let loose with a war cry of “LEEEEEDS!”
“I’m from Portsmouth,” I mumble, all too aware that there is a camera lens in our eyes and my hair has chosen to wind itself across my face. “They’re from Leeds, I’m from Portsmouth.”
“LEEEEEDS!”
He asks us why we had come all this way, so we all talk loudly over each other about how we like music and how we like travelling and how it is good to do the two and the Chiefs have a great live reputation. “Are you crazy to come all this way?” Dave asks.
“Nooo…”
We keep our wide grins in place. After a few minutes the Belgian turns back to the camera and begins spouting his finishing link in Dutch. The only intelligible words we pick out are ‘Ricky and Nick’ so the fangirls start elbowing each other and giggling. A few people may have fallen through the door again.
The Kaiser Chiefs’ European tour was exciting for several reasons. Firstly, they usually play festivals and the like abroad but this tour was in venues of around 1,000 people; much smaller than usual. Secondly they would be showcasing a lot of material from their forthcoming second album, the follow-up to ‘Employment’. The odd track had been heard (and bootlegged) in the summer months but a lot more was promised this time round.
By the time doors opened, the polite British queue had turned into a large mass of people (those foreigners… tsch) pressed against the glass, a couple of them yelling “GOING OUT WITH! GOING OUT WITH!” along to the Pigeon Detectives soundcheck. The door was wrenched open and there was a hectic rush straight to the front of the stage, with the poor girl who’d come all the way from Finland bouncing along right on her arse after falling down the steps. I gave her a badge to patch up her broken trousers with, after tripping over the last step and scuffing my big toe painfully.
With our places all saved nicely, it was time to check out the merchandise stall and the new range of t-shirts. The prices all looked extortionate, but they were in euros and I couldn’t be bothered to work out the exact pound sterling equivalent.
The Pigeon Detectives came onstage to tear through a short set, which included the usual suspects ‘Don’t Know How To Say Goodbye’, ‘Romantic Type’, ‘In Your Trap’, ‘I’m Not Sorry’, ‘Can’t Control Myself’ and ‘I’m Always Right’. The crowd started to wake up slightly as the band crashed around on stage and happily sung along with ‘I Found Out’ (think we might have taught them the lyrics to that one outside earlier). The mic lead wrapped itself around one of the cymbals and brought it down which the crowd thought was funny. It felt very strange to be one of only a few people dancing and singing away because the band are barely known in Belgium (they’re still barely known in the UK, let alone mainland Europe) and the crowd was very tame.
The Pigeons had to unplug most of their own equipment, so I amused myself by yelling and waving at them in turn. Most looked scared, but waved back. There were classic tracks put on in the background; a bit of the Beatles, the Clash, Rolling Stones and so on. Plus there was a Mr Man book sat on top of one of the amps. A bit of investigation revealed it was Mr Strong, although I’m not sure what significance this has if any.
The Kaiser Chiefs may have been slightly annoyed to travel all this way only to find the front row occupied by giggling Brits who quite obviously had bootlegged their new songs, but if they were pissed off they didn’t show it. Ricky, Nick, Simon, Whitey and Peanut looked calm and happy to be on stage and they were displaying a chirpy cheekiness not evident in the mega-big gigs.
The set opened with new track ‘Angry Mob’ and the band started laughing when they saw most of the front row already knew the lyrics. The other new tracks they played were ‘Heat Dies Down’, ‘Everything Is Average Nowadays’, and the even newer ‘Ruby’ and ‘Retirement.’
The band have played a lot of festivals this year but haven’t toured for several months. Frankly it showed, as Ricky looked knackered and spent most of the gig stood in front of the mic stand, only tearing around occasionally. At one stage he walked up to the drumkit and rested his head down, while Nick called out to him: “Do you want someone else to sing this one? Do you want us to get Whitey to sing it?” There was little crowd interaction despite being a small venue and no crowd surfing, which was a bit of a disappointment.
The new tracks are sounding catchy and certainly grow on the listener. Everyone was singing along to the ‘Employment’ songs - ‘Everyday I Love You Less and Less’, ‘I Predict A Riot’, ‘Modern Way’ and ‘Caroline Yes’. Again the crowd was tame. Usually during ‘IPAR’ you have several people clawing their way up your back and an elbow in your throat. This time, I had one person bump into me twice and plenty of breathing space. Whether that means the crowd aren’t into it as much or just have more manners, I don’t know. It felt wrong.
It was a short set, finishing dead on an hour, including a two-song encore (‘Retirement’ and an extended ‘Oh My God’). The whole thing is over by about ten, so we hang around chatting then head outside. Nick and Peanut stay around signing autographs while the others walk past with their heads down, flanked by security guards. I smile and say hello, and only Ricky is friendly enough to say hello back. (I put this down to my short dress). He’s looking more awake now than he was all night. The Pigeon Detectives are kindly handing out beer off their rider, then everyone’s off into the night and I’m aware that it’s fucking freezing and blowing a gale.
It was a top effort from the Pigeons considering they were playing to a crowd who’d never heard of them. The Kaisers were entertaining as usual but in places seemed a little unenergetic and worn; despite this, their new tracks are sounding excellent and more UK shows surely beckon. And we got to have a nice little sightseeing holiday around Belgium, which was very entertaining and worth the trip alone. More people should travel abroad for gigs.
http://www.kaiserchiefs.co.uk
http://www.thepigeondetectives.com
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THE FUTUREHEADS / THE MACCABEES / THE ENEMY
@ Portsmouth Pyramids, 3rd December 2006
Decent days, and nights spent dancing
Ah yes, I remember the Futureheads. They were on the NME tour early last year, but seemed to have been left slightly behind after the Killers and Kaiser Chiefs rocketed into the indie stratosphere. Everyone told me their most recent album wasn’t as good as the last, and they were dropped by their record label only the other week. And with tickets available on the door for a mere (!) £15, I wasn’t sure what size crowd would turn up.
I’d never been to the Pyramids before. It’s got a lovely location along the seafront. Or it would be lovely if it hadn’t been about minus seven with strong winds and a road closed off, forcing me and my friend to drive around in panicked circles for a bit.
First onstage were the Enemy. The name sounded vaguely familiar but I wasn’t sure why – MySpace perhaps? Liam, Tom and Andy are a three piece from sunny Coventry. As soon as they began swaggering around the stage, immediately Oasis popped up in my head, and wouldn’t get out. They appeared to be one of those bands which seem good at the time – yeah! Guitars! Rock! – but ultimately were forgettable. Still signed up to their mailing list in case I had missed something special by being stood at the back.
Got ticked off by my friend for leaving my mobile in my bag somewhere so she couldn’t get hold of me (not deliberately, honest). And finally it was time to see the Maccabees. A few people I had spoken to also missed out when they failed to rejoin the rescheduled NME tour last month, so it was a huge round of applause they got when they came onstage. The band are from Brighton, so they’re practically local. Their names are Orlando (vocals), Rupert (bass), Robert (drums), Hugo and Felix (guitars) – possibly the poshest sounding names for a band I’ve heard for a while, although you wouldn’t guess it by looking at them. They turned out to be very enjoyable, with jerked guitars, slightly strangulated and emotional vocals and an intriguing quirkiness about them. The biggest cheer and moshing was reserved for single ‘First Love’, which had managed to sneak into the Top 40 shortly before.
“Did you like the Maccabees?” I said to some people near the bar afterwards. “I thought they were brilliant.”
“Are you going out with one of them?” was the reply. Oh well. Different people, different tastes.
But I was right.
Then it was time to push my way nearer the front for the Futureheads. The Sunderland boys are Ross, Barry, Dave and Jaff, and they’re nearly at the end of their current tour. I have to confess that I don’t actually have ‘News and Tributes.’ In fact, I don’t even have ‘The Futureheads’ and that came out about two years ago. Frankly, I’d forgotten how good they were. They opened with ‘Area', then ripped right through tracks including 'Yes/No', 'The City Is Here For You To Use', 'Worry About It Later', 'A To B', the ever-popular 'Decent Days And Nights', 'Skip To The End', and others. Despite the fact they don't run around the stage as much as some, their powerfully tense and crunching guitars had so much heavy energy the crowd couldn't help but be stirred into excitement.
Come ‘Hounds of Love’, and it's time for audience participation. Jaff’s side cheered the loudest. (Ross later complained that Jaff always wins because he can point and wave to encourage everyone, whereas poor Ross can’t. Let’s start a campaign to Make Ross Win). A man stood right behind me in the mosh pit and put his hands on my waist, but before I started getting any wanton ideas it transpired he just wanted to fling me out the way so he could rush into someone else. A young teen was lifted up to crowdsurf and was instantly dropped on his head. He nodded he was fine, and tried again.
“Out of my way! This man has no shoes!” shouted one guy, trying to launch his friend above everyone’s heads. The crowd was crazy and loving it, and were far more into the show than I had expected they would be. As we were the best crowd on the tour, we were lucky to get a few extra songs and it was a nice long set. The show finished with 'Return Of The Berserker', 'Carnival Kids' and crowd favourite ‘Picture of Dorian Gray.’ The front few rows were dripping with sweat and the bouncers amused themselves by spraying cold water at people, although far too many ladies got soaking wet tops.
I waited around at the end and got the band to sign a ‘Hounds of Love’ 7” for my sister’s Christmas present (which sounds generous but it wasn’t. It was hers anyway. I just stole it off her shelf and rewrapped it). The band thought the crowd was brilliant and I'm inclined to agree - it's been a while since I saw a mosh pit quite so buzzing, and I honestly hadn't been expecting to find one here. But I'm glad I did, and I'm looking forward to seeing what the band's next move will be.
http://www.thefutureheads.com
http://www.themaccabees.co.uk
http://www.myspace.com/theenemycoventry
Words - Suzy Sims
Previously published on Native.tv http://www.native.tv/
(c) Niche News & Publishing Ltd
THE LONG BLONDES
@ Southampton Joiners, 27th October 2006
I love everything that comes out of the supposedly-labelled ‘New Yorkshire’ scene. The Long Blondes are one of the most exciting bands, with their ‘glamour punk’ melodies making tidal waves in the indie underground and swamping some of the plainer rock acts of the moment.
The band is made up of the stylish Kate Jackson on vocals, Emma Chaplin on guitar, keyboards and backing vocals, Reenie Hollis on bass and backing vocals, Dorian Cox on lead guitar and vocals and the wonderfully named Screech Louder on drums. Unfortunately they suffer from frequent comparison to Pulp, which is something they are proud of but which dogs (are) every (where) single review about them. Oh, done it again. It’s easy to see why though, with the cheerful keyboards, quirky key changes and seriously cool singer.
There’s a bit of a delay before they come onstage, which is good for us because we’ve just come from a friend’s birthday party and hadn’t arrived much before 10pm. Kate strides on in a slinky, figure-hugging striped dress. It’s easy to see why she’s as well known for making the NME Cool List as the band are for their songs.
Kate sneers her way through songs, dancing away and smiling at the audience, quickly switching between friend of the fans and untouchable rock chick. She has an amazing presence and the crowd love it. The setlist includes ‘Weekend Without Makeup’, ‘Appropriation (By Any Other Name)’, ‘You Could Have Both’, ‘Giddy Stratospheres’ and it ends with a happy sing-a-long to ‘Separated By Motorways.’
My friend turns to me halfway through. “I’ve fallen in love,” he says dreamily while gazing at Kate. He’s gay. There’s a girl in the crowd called Rachel and it’s her birthday, so the band quickly adapt the lyrics of new single ‘Once And Never Again’ to “18, you’re only 18 for God’s sake, oh you don’t need a boyfriend.”
“Come back next year and we’ll sing the proper one at you,” says Kate. The birthday girl and her friends are pretty chuffed, judging from the whoops I can hear coming from the front.
There’s a stage invasion at the end. Instead of people crowdsurfing into the drum kit and being pushed offstage, everyone is stood with arms round one another and trying to sing into the microphone. Kate manages the great facial expression of having bewildered, nervous fun. It’s been a great show. The tracks are all catchy and danceable. My friend did complain that some sounded the same, but as he hadn’t heard much of their songs he may just not be used to the style.
My sister comes up to me and gives me a Long Blondes sticker which the man on the merchandise stall gave her for having good hair. She said it was free, but I’m not so sure seeing as I had to give her a tenner for a t-shirt in the first place. The Long Blondes are good, spikey, classy pop fun and I’m sure their album will get the recognition it deserves.
http://www.thelongblondes.co.uk
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02 NME ROCK AND ROLL RIOT TOUR
The Fratellis / The Dykeenies
Portsmouth Guildhall, 8th November 2006
The NME Tour stops off in Portsmouth. Or rather, half of it does
About time. This gig was meant to take place about a month earlier but a change of venue meant a change of date, and of acts.
The Horrors couldn’t make the rescheduled date because they’re causing chaos in the States while the Maccabees are rocking up Leeds. On second thoughts, perhaps we should have been refunded half the ticket price to make up for the fact that half the advertised bands weren’t there. No-one seemed to be complaining though, probably because everyone only wanted to see the Fratellis.
We arrived just before the Dykeenies took the stage. This lot are from sunny Glasgow and are Brian (vocals/synths), Alan and Steven (guitar), Andrew (bass), and John (drums).They were dressed a bit nu-rave, as I’m sure the NME would put it. I wasn’t familiar with any of their tracks, although I did know the name from reading the magazine. The NME had described them as having ‘a natural knack for constructing snappy pop songs,’ and they weren’t wrong. Every song seemed full of excitement, catchiness and synths.
“They’re the British Killers,” my friend says, quite rightly.“Hello Portsmouth!” shouts Brian. “Looking forward to the Fratellis?” Roar. “Can you understand our accents?” Another roar.
We decided to nip out for a quick lemonade as I’d been out all day and was really thirsty. The band hadn’t been playing for long so we thought it would be fine to disappear for a quick drink. We hadn’t banked on the fact that the Guildhall bar is crap. There was a queue about four people deep and twenty across. Around ten minutes later and the queue was still four people deep and twenty across. Another five minutes and we were getting hot and annoyed. A bit of exploring around the venue and we discovered all the vending machines were switched off. Great. We arrived back in to see the end of the Dykeenies as they roused everyone in readiness for the headliners. They were an excellent sounding band that I’ll definitely have to check out.
A few ripples of ‘Chelsea Dagger’ travelled around the venue as people get worked up about the Fratellis. The band haven’t been playing together for long. Jon, Barry and Mince (according to their website, Mince was a (lovable) stoner, Barry was a car thief and Jon was just a Jon) formed in spring 2005 and soon caught the attention of everyone with their raucous tunes. The first track of theirs I’d heard was ‘Cigarello’ which I thought would be a cracker live; however friends had warned me they had a habit of sounding a bit like a redneck hoedown, what with all the whoops and the country-style chords.
The Fratellis stepped on stage with a wave and a smile. Mince was proudly showing off his Scottishness by wearing a vest and drinking from a two-litre bottle of Irn-Bru onstage from behind his drums. Jon waved at a few people in the front row, then the band kicked into ‘Creepin’ Up The Backstairs’ and everyone went nuts. Other songs they played were ‘Doginabag’, ‘Flathead’, ‘Ole Black and Blue Eyes’, ‘Everybody Knows You Cried Last Night’, ‘Cigarello’, ‘Vince The Loveable Stoner’ (cue audience ‘Ah-ha’), all familiar to people with the album (as it seemed everyone in here owned) or with access to the Budhill Singles Club. Unlike many of the other shows on this tour, the whole show wasn’t taken up with the crowd singing the ‘Chelsea Dagger’ riff – yes, there was a bit of it here and there, but not as much as people say in there was in other shows.I was a bit tired after my day so I hadn’t stood too close to the front.
Halfway through I felt a bit disappointed that I wasn’t closer, with crowdsurfers and the odd beer hurling through the air and the crowd rising with their hands up in sheer joy. I was also getting fed up of the woman next to me. She looked about 45 and had clearly drunk too much. Much of the floor was her own as she danced around into everyone, once grabbing the couple in front and saying ‘So which of you liked the Fratellis first then?’ Her friend stood stock-still behind her, probably because if she moved she’d have gone down like a felled tree. Her eyes were glazed and she wasn’t doing much. After a failed attempt to enter the moshpit, they retreated to the corner and collapsed on the floor.
I glanced up to see how everyone on the balcony was doing. Everyone was swaying in time, and one person was standing up and having a little jig. There’s not very much in the way of audience interaction, but Jon occasionally smiles at people in the front row. The odd plastic cup is lobbed on stage, though whether a sign of appreciation Glasgow-style or someone hating the set, I can’t tell.
The band are good at rocking their way through the tracks and the audience love it, but there’s something missing. The band almost seem to be on autopilot and while the song’s are great and the crowd are energetic, something doesn’t quite feel right.
There was a brief interval so we popped out for some light and cool air. My friend nudged me and pointed out the Dykeenies stood in a group chatting by the bar. Hopefully they had a rider, either that or the poor bastards had been queuing for the past hour like everyone else. We bumped into a friend as she rushed out the bar. She’d been queuing for half an hour so had missed half the Fratellis and looked a bit harried.
Jon reappeared to sing a solo acoustic version of ‘For The Girl’. The Fratellis got on with their last track, which sounded a lot like T-Rex. After a few seconds I realised it was a dirty glam rock version of Goldfrapp’s ‘Ooh La La,’ which sounded ace.
The show finished early – well, they couldn’t really do a two hour set each - and we got out the car park and were home before 11pm, even with stopping to buy a cheap poster on the way out. I was sad to have missed the Maccabees, pleased to have heard the Dykeenies, and was buzzing after the headliners. Mon the Fratellis!
http://www.nme.com
http://www.thedykeenies.com
http://www.thefratellis.com
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KAISER CHIEFS / THE PIGEON DETECTIVES
@ Hof Ter Lo, Antwerp, 10th November 2006
There’s something we have to get straight. Travelling abroad to see a band does NOT count as stalking. Travelling and learning about the world is good. And if you can see some bands while you’re there then that’s just an added bonus.
And that’s why I was stood outside the Hof Ter Lo in Antwerp, shivering slightly and waiting to go in and see the Kaiser Chiefs. There was a large group of us who had made the journey all the way from the UK (or Germany, or Finland) and we were keeping warm by drinking cans of raspberry beer in between cans of cherry beer and other cans of raspberry beer. A few of the girls were very excited because a couple of the Chiefs had been outside to say hi and sign autos a few hours earlier. The door wasn’t properly locked and occasionally someone would fall through it with a crash and a shriek, causing security to frown at us.
At the moment, excitement was building again because the camera crew which had been marching in and out of the venue was walking in our direction. The smiley Belgian reporter (a friend later told us it was Dave Peters, a famous radio presenter) makes a beeline for us, so three of us English girls linked arms and grinned slightly manically.
“Where are you from?” he asks.
“English!” Oh dear. “Are any of you from Leeds?” Helen and Sarah are, and they let loose with a war cry of “LEEEEEDS!”
“I’m from Portsmouth,” I mumble, all too aware that there is a camera lens in our eyes and my hair has chosen to wind itself across my face. “They’re from Leeds, I’m from Portsmouth.”
“LEEEEEDS!”
He asks us why we had come all this way, so we all talk loudly over each other about how we like music and how we like travelling and how it is good to do the two and the Chiefs have a great live reputation. “Are you crazy to come all this way?” Dave asks.
“Nooo…”
We keep our wide grins in place. After a few minutes the Belgian turns back to the camera and begins spouting his finishing link in Dutch. The only intelligible words we pick out are ‘Ricky and Nick’ so the fangirls start elbowing each other and giggling. A few people may have fallen through the door again.
The Kaiser Chiefs’ European tour was exciting for several reasons. Firstly, they usually play festivals and the like abroad but this tour was in venues of around 1,000 people; much smaller than usual. Secondly they would be showcasing a lot of material from their forthcoming second album, the follow-up to ‘Employment’. The odd track had been heard (and bootlegged) in the summer months but a lot more was promised this time round.
By the time doors opened, the polite British queue had turned into a large mass of people (those foreigners… tsch) pressed against the glass, a couple of them yelling “GOING OUT WITH! GOING OUT WITH!” along to the Pigeon Detectives soundcheck. The door was wrenched open and there was a hectic rush straight to the front of the stage, with the poor girl who’d come all the way from Finland bouncing along right on her arse after falling down the steps. I gave her a badge to patch up her broken trousers with, after tripping over the last step and scuffing my big toe painfully.
With our places all saved nicely, it was time to check out the merchandise stall and the new range of t-shirts. The prices all looked extortionate, but they were in euros and I couldn’t be bothered to work out the exact pound sterling equivalent.
The Pigeon Detectives came onstage to tear through a short set, which included the usual suspects ‘Don’t Know How To Say Goodbye’, ‘Romantic Type’, ‘In Your Trap’, ‘I’m Not Sorry’, ‘Can’t Control Myself’ and ‘I’m Always Right’. The crowd started to wake up slightly as the band crashed around on stage and happily sung along with ‘I Found Out’ (think we might have taught them the lyrics to that one outside earlier). The mic lead wrapped itself around one of the cymbals and brought it down which the crowd thought was funny. It felt very strange to be one of only a few people dancing and singing away because the band are barely known in Belgium (they’re still barely known in the UK, let alone mainland Europe) and the crowd was very tame.
The Pigeons had to unplug most of their own equipment, so I amused myself by yelling and waving at them in turn. Most looked scared, but waved back. There were classic tracks put on in the background; a bit of the Beatles, the Clash, Rolling Stones and so on. Plus there was a Mr Man book sat on top of one of the amps. A bit of investigation revealed it was Mr Strong, although I’m not sure what significance this has if any.
The Kaiser Chiefs may have been slightly annoyed to travel all this way only to find the front row occupied by giggling Brits who quite obviously had bootlegged their new songs, but if they were pissed off they didn’t show it. Ricky, Nick, Simon, Whitey and Peanut looked calm and happy to be on stage and they were displaying a chirpy cheekiness not evident in the mega-big gigs.
The set opened with new track ‘Angry Mob’ and the band started laughing when they saw most of the front row already knew the lyrics. The other new tracks they played were ‘Heat Dies Down’, ‘Everything Is Average Nowadays’, and the even newer ‘Ruby’ and ‘Retirement.’
The band have played a lot of festivals this year but haven’t toured for several months. Frankly it showed, as Ricky looked knackered and spent most of the gig stood in front of the mic stand, only tearing around occasionally. At one stage he walked up to the drumkit and rested his head down, while Nick called out to him: “Do you want someone else to sing this one? Do you want us to get Whitey to sing it?” There was little crowd interaction despite being a small venue and no crowd surfing, which was a bit of a disappointment.
The new tracks are sounding catchy and certainly grow on the listener. Everyone was singing along to the ‘Employment’ songs - ‘Everyday I Love You Less and Less’, ‘I Predict A Riot’, ‘Modern Way’ and ‘Caroline Yes’. Again the crowd was tame. Usually during ‘IPAR’ you have several people clawing their way up your back and an elbow in your throat. This time, I had one person bump into me twice and plenty of breathing space. Whether that means the crowd aren’t into it as much or just have more manners, I don’t know. It felt wrong.
It was a short set, finishing dead on an hour, including a two-song encore (‘Retirement’ and an extended ‘Oh My God’). The whole thing is over by about ten, so we hang around chatting then head outside. Nick and Peanut stay around signing autographs while the others walk past with their heads down, flanked by security guards. I smile and say hello, and only Ricky is friendly enough to say hello back. (I put this down to my short dress). He’s looking more awake now than he was all night. The Pigeon Detectives are kindly handing out beer off their rider, then everyone’s off into the night and I’m aware that it’s fucking freezing and blowing a gale.
It was a top effort from the Pigeons considering they were playing to a crowd who’d never heard of them. The Kaisers were entertaining as usual but in places seemed a little unenergetic and worn; despite this, their new tracks are sounding excellent and more UK shows surely beckon. And we got to have a nice little sightseeing holiday around Belgium, which was very entertaining and worth the trip alone. More people should travel abroad for gigs.
http://www.kaiserchiefs.co.uk
http://www.thepigeondetectives.com
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THE FUTUREHEADS / THE MACCABEES / THE ENEMY
@ Portsmouth Pyramids, 3rd December 2006
Decent days, and nights spent dancing
Ah yes, I remember the Futureheads. They were on the NME tour early last year, but seemed to have been left slightly behind after the Killers and Kaiser Chiefs rocketed into the indie stratosphere. Everyone told me their most recent album wasn’t as good as the last, and they were dropped by their record label only the other week. And with tickets available on the door for a mere (!) £15, I wasn’t sure what size crowd would turn up.
I’d never been to the Pyramids before. It’s got a lovely location along the seafront. Or it would be lovely if it hadn’t been about minus seven with strong winds and a road closed off, forcing me and my friend to drive around in panicked circles for a bit.
First onstage were the Enemy. The name sounded vaguely familiar but I wasn’t sure why – MySpace perhaps? Liam, Tom and Andy are a three piece from sunny Coventry. As soon as they began swaggering around the stage, immediately Oasis popped up in my head, and wouldn’t get out. They appeared to be one of those bands which seem good at the time – yeah! Guitars! Rock! – but ultimately were forgettable. Still signed up to their mailing list in case I had missed something special by being stood at the back.
Got ticked off by my friend for leaving my mobile in my bag somewhere so she couldn’t get hold of me (not deliberately, honest). And finally it was time to see the Maccabees. A few people I had spoken to also missed out when they failed to rejoin the rescheduled NME tour last month, so it was a huge round of applause they got when they came onstage. The band are from Brighton, so they’re practically local. Their names are Orlando (vocals), Rupert (bass), Robert (drums), Hugo and Felix (guitars) – possibly the poshest sounding names for a band I’ve heard for a while, although you wouldn’t guess it by looking at them. They turned out to be very enjoyable, with jerked guitars, slightly strangulated and emotional vocals and an intriguing quirkiness about them. The biggest cheer and moshing was reserved for single ‘First Love’, which had managed to sneak into the Top 40 shortly before.
“Did you like the Maccabees?” I said to some people near the bar afterwards. “I thought they were brilliant.”
“Are you going out with one of them?” was the reply. Oh well. Different people, different tastes.
But I was right.
Then it was time to push my way nearer the front for the Futureheads. The Sunderland boys are Ross, Barry, Dave and Jaff, and they’re nearly at the end of their current tour. I have to confess that I don’t actually have ‘News and Tributes.’ In fact, I don’t even have ‘The Futureheads’ and that came out about two years ago. Frankly, I’d forgotten how good they were. They opened with ‘Area', then ripped right through tracks including 'Yes/No', 'The City Is Here For You To Use', 'Worry About It Later', 'A To B', the ever-popular 'Decent Days And Nights', 'Skip To The End', and others. Despite the fact they don't run around the stage as much as some, their powerfully tense and crunching guitars had so much heavy energy the crowd couldn't help but be stirred into excitement.
Come ‘Hounds of Love’, and it's time for audience participation. Jaff’s side cheered the loudest. (Ross later complained that Jaff always wins because he can point and wave to encourage everyone, whereas poor Ross can’t. Let’s start a campaign to Make Ross Win). A man stood right behind me in the mosh pit and put his hands on my waist, but before I started getting any wanton ideas it transpired he just wanted to fling me out the way so he could rush into someone else. A young teen was lifted up to crowdsurf and was instantly dropped on his head. He nodded he was fine, and tried again.
“Out of my way! This man has no shoes!” shouted one guy, trying to launch his friend above everyone’s heads. The crowd was crazy and loving it, and were far more into the show than I had expected they would be. As we were the best crowd on the tour, we were lucky to get a few extra songs and it was a nice long set. The show finished with 'Return Of The Berserker', 'Carnival Kids' and crowd favourite ‘Picture of Dorian Gray.’ The front few rows were dripping with sweat and the bouncers amused themselves by spraying cold water at people, although far too many ladies got soaking wet tops.
I waited around at the end and got the band to sign a ‘Hounds of Love’ 7” for my sister’s Christmas present (which sounds generous but it wasn’t. It was hers anyway. I just stole it off her shelf and rewrapped it). The band thought the crowd was brilliant and I'm inclined to agree - it's been a while since I saw a mosh pit quite so buzzing, and I honestly hadn't been expecting to find one here. But I'm glad I did, and I'm looking forward to seeing what the band's next move will be.
http://www.thefutureheads.com
http://www.themaccabees.co.uk
http://www.myspace.com/theenemycoventry
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