- Live Reviews
Wyvern Lingo - This is not bluegrass -
Despite the goofy directions from my generic fruit-based device, and always getting lost in this part of town, I did eventually make it to Shacklewell Arms to see Wyvern Lingo, an Irish trio who's debut release 'The Widow Knows' EP was released last year. The group has a strong r&b core with a light sprinkling of folk (hardly bluegrass, as was advertised), but the stand out feature is the strength of the vocal arrangements. Caoimhe Barry (drums), Karen Cowley (piano) and Saoirse Duane (guitar) all take turns on lead vocals, and blend together to create beautiful harmonies.
While 'The Widow Knows' shows some folk influences, tonight's performance fell more on the r&b side, with some funk and early hip-hip beats thrown in for good measure. Playing a mixture of tracks from their EP and hopefully forthcoming album, the overriding theme from the evening is that this is a group who, while obviously talented, also have the imagination to use it. Not content to rely solely on the their voices, they like to play around with musical arrangements, drop the beat, change tempo, add funky guitar riffs - this is a group trying to find the edges and having fun along the way.
Wyvern Lingo are currently supporting Hozier on his UK tour, and will be popping into The Islington on Saturday 30th May. This gig is free entry and I would highly recommend you check them out.
Gráinne @grainne4u
- Live Reviews
The anticipation for this gig had been building for sometime, well hope was always growing and with the demise of Beady Eye and Andy Bell being available real hope started to blossom. Then the Ride logo appeared in Barcelona for the Primavera Festival and the announcement came that the band had reformed.
Now it’s Bank Holiday Sunday, a sold out Roundhouse and the wait (of years for many) was finally over, Ride are back with us and opener ‘Leave Them All Behind’ from 1992’s ‘Going Blank Again’ was nothing sort of awe-inspiring.
Even though the band had played a BBC6 radio session a few days before and dates in Glasgow and Manchester in the UK that was really ignored by this reviewer, so as to try and experience the enormity of the occasion this Sunday night in London town.
What became evident on the every first song was what it is like to ‘live the dream’ after a wait of close on 20 years, the crowd moved again as one, arms aloft and voices at full throttle, this was no empty reunion this was the goosebumps on the back of the neck reunion!
‘Like a Daydream’ was a surprise second song in, followed by the opening reverb guitar of ‘Polar Bear ‘and the first visit to ‘Nowhere’. Straight into an epic ‘Seagull’ after that and the whisper of Loz Colbert being on top of this game on the drum stool was there for all to see on this song. The guy as was the band, tremendous all night long.
Sound was spot on and the temperature in the venue just continued to climb. This was an outstanding concert and one you just had to be at. All the classics 'Twisterella' led to 'OX4' and a simply stunning ‘Dreams Burn Down’.
There was still so much more to come, the first hour of the concert just zoomed by, an hour seemed gone in the blink of an eye.
‘Paralysed’, ‘Vapour Trail’, then ’Drive Blind’ from their debut EP brought the main set to a stunning climax. Not many dry eyes left in the house I doubt.
The encore brought three more classics, which finished with the first EP being revisited with ‘Chelsea Girl’.
Massive smiles from the band and audience alike.. Where do we go from here? Mark certainly seems to have the swagger and now the whole band are ‘on the button’ again who knows …… a new album? . See you at Field Day 7 June!
Pete
Set
Leave Them All Behind
Like a Daydream
Polar Bear
Seagull
Sennen
Cool Your Boots
Black Nite Crash
Twisterella
OX4
Dreams Burn Down
Time of Her Time
Chrome Waves
Paralysed
Taste
Vapour Trail
Drive Blind
Encore
Close My Eyes
Mouse Trap
Chelsea Girl
- Live Reviews
As part of a five band evening at the Wagon and Horses in Digbeth we have JPNSGRLS, which is pronounced “Japanese Girls”, although if you try an internet search with that description you may not be directed to a four-piece garage, punky-pop band from Vancouver.
Their first album 'Circulation' which was released in the UK in April has plenty of hooks, spiky guitars and a driving rhythm section and was featured on our daily 'Album to commute by' tweet.
JPNSGRLS played at Austin's SXSW this year and this week at Liverpool's Sound City, the band's reputation for energetic live shows and the album's big sound prove too much for the small stage in the backyard of the Wagon and Horses as during the first track's instrumental lead singer Charlie Kerr (wearing a white St .Vincent T-shirt which gives him bonus points) is down in the crowd and hammering on the front of the PA.
Kerr is the obvious focal point of the live show as he gyrates and dances like Jagger, wraps himself around the mic stand like Julian Casablancas, (his vocal style is somewhere between Casablancas' and Simon Neil of Biffy Clyro), but he's in competition with giant bass player Christopher McClelland, who during 'Smalls' is in danger of decapitating himself due to a combination of his enthusiastic playing style and the low overhead stage lighting.
'Circulation' is sung with Charlie lying on his back draped across the stage monitors, during 'Tiger' he's urging the crowd, which is gaining in enthusiasm, to join in with the 'Whoops” which pepper the track. Last song of their short set is the awesome 'Brandon', to avoid a visit to local A&E Christopher has abandoned the stage in favour of the standing stalls to hammer out the chugging bass parts and in the instrumental finale Charlie's dancing on stage with the St. Vincent T-shirt pulled over his head but without his shoes.
As yet there's no news of further UK appearances this year, but if you like an energetic band playing songs with hooks and huge guitars you really need to check out JPNSGRLS next time they visit.
Alisdair Whyte
- Live Reviews
By the time my favourite Brazilian/Irish/Norwegian and Liverpool based band All We Are took the stage at The Ritz, there was at least 50 or 60 of us watching. Thankfully, as their set progressed, the crowd and with it, enthusiasm did swell.
Playing songs from their self-titled recently released debut album, the band peddle a cool, rhythmic, harmonious style of music somewhere between The XX and Wild Beasts. Whilst the album itself can feel a little soporific, live the band are more animated than expected, including the drummer who plays standing up. Ebb/Flow, Feel Safe and Keep Me Alive get the crowd swaying, if not pogoing, and it’s a perfectly pleasant start to the evening. Even the girls from PINS next to me were enjoying it.
Obviously, the bulk of the crowd had come to see Mew (me for the first time actually), and it was a genuine mixed bag of ages and genders. Sadly, again the crowd wasn’t anywhere near capacity, with the upstairs and balcony actually closed, however those present were clearly determined to have a great time. All in black, the 5 members of the band arrived on stage individually, took to their instruments and launched into tracks 2 and 1 from new album +- (Plus Minus) Witness and Satellites, the latter to great applause as it is also a single.
What strikes already is lead Dane Jonas Bjerre’s extraordinary voice - falsetto or at least unusually high pitched, it has a fabulous clarity and power that I was hoping would carry the Mew sound in a live setting. What also strikes me is that I’m not sure I’ve seen a more unassuming (or even awkward) lead singer. He seemed almost overwhelmed by the support and love the crowd were giving the band, or as he is also a performance artist, was it an act ?
Either way, it didn’t make one iota of difference to everyone there who just seemed to go more bezerk at each passing song. More new tracks such as The Night Believer and Water Slides sat alongside older favourites such as Snow Brigade and Silas The Magic Car.
Next, and for the first time during the evening, Jonas strapped on a guitar and played the first riff of Amy I Wry ?, No from Frengers, and the sprung wooden floor of the old dancehall showed it’s fantastic flexibility , and again it was tested to its limits as they went straight into stadium friendly anthem 156. That was special, and couldn’t be topped…or so I thought.
The bass player and lead guitarist were the most verbose of the band, and again seemed to be genuinely moved by the adoration of the crowd, especially as they hadn’t played Manchester for nearly 10 years.
So after the final stripped down medley of Clinging to a Bad Dream/The Zookeepers Boy/Louisa Louisa, the main set was over and it was a short wait for the encores.
New track My Complications was first up, but it was almost instantly forgotten as the first guitar notes to Comforting Sounds rang out. This was a genuine moment in the midst of all the gigs this year and I’ve got goosebumps thinking about it and as I write this. If there’s a more euphoric, emphatic and blissful song to end a gig, then I’m not sure I know it.
What a fantastic night. Why has it taken me all this time to see Mew? It won’t take as long to see them again. Some people were in tears as we were leaving the venue (me nearly), and some people were on the pitch…. They think it's all over…it is now.
Keith
@kjsmith4082
- Live Reviews
It’s always a bonus when you book a gig and the support band is also a favourite of yours, and so it turned out on Saturday with the fabulous Slow Club first up at the Apollo.
With only a half an hour slot, the band played songs from most recent album Complete Surrender, starting off with Tears, instantly showing off Rebecca’s fabulous singing voice. One thing to note however was how dimly lit they were, even when introducing the band Rebecca suggested the bass player was in the shadows.
Is it the venue or the band themselves who are responsible for the lighting ?? From row G, upper circle of the 3500 capacity Apollo, everyone was in the shadows ! Suffering Me and Everything Is New were other highlights of the six song set, as they said their goodbyes and thanked Alabama Shakes for inviting them on tour.
On came Alabama Shakes 30 minutes later, and the contrast couldn’t have been more marked. A hugely professional stage show and dazzling light show with nine of them on stage for the most part, including 3 backing singers….. (not sure I can remember if I’ve been to a gig with backing singers before…)
Brittany Howard is certainly star of the show, as both front woman, guitarist and huge bellowing voice of the Shakes, and she’s into it straight from the off telling us it’s their final night in the UK and they’re gonna make it count. Clearly they do, and they launch straight into Don’t Wanna Fight from new album Sound & Color. The intensity at which she sings seems to be turned up a notch live, and it's a full on soulful assault on the ears. Future People, first single from the new album is up next, starting as it does on record with the strained voice effect, then almost pitch perfect as per the album.
There’s not a huge amount of banter with the crowd, however an amusing passage is when, between songs, a guy attempts to mimic one of Brittany's screams, which seems to genuinely surprise her. His name turns out to be Eric, and she dedicates Shoegaze to him. Nice touch.
Biggest cheer of the night is when they play the fabulous Hang Loose from first album Boys & Girls (although disappointingly they don’t play Hold On from the same album).
Again, on a slightly disappointing note, they leave the stage after only an hour, and an hour and a quarter after coming on stage, and 2 songs for encore, it’s all over.
Never mind, for as long as it lasted it was a fabulous, intense show from the singer and exceptional guitarist Brittany Howard and her backing band.
Keith @kjsmith4082
- Live Reviews
Here's a quote from the film 'Prime' staring Uma Thurman as she discovers the age of the guy she's dating “Oh, my God! You're a child...I have t-shirts older than you”. Tonight at Brixton Academy proudly wearing my 1997 “FURRIES” t-shirt (which miraculously still fits) I feel some connection with Uma Thurman for the first and probably last time in my life.
Super Furry Animals dissolved in 2009 after the album 'Dark Days/Light Years', the band members headed off to pursue a variety of projects. As there was never a formal split there was a faint glimmer of hope (perhaps a 'Glo in the Dark' b-side of 'Something for the Weekend' which actually gets played tonight) that they would get back together someday.
The main reason (or should that be mane as that's the English translation of their 4th album 'Mwng'), for the tour has been declared as the 15th anniversary, and re-issue of that album which is itself notable as: it's entirely sung in Welsh, regarded as the best-selling Welsh language album of all time and was mentioned in the UK Houses of Parliament.
Walking on dressed in white, paper boiler suits to the intro track of instrumental '(A) Touch Sensitive' which, the band play the latter half of. Next it's '(Drawing) Rings Around the World' the title track from the same album for the first audience shout along “ring, ring, ring, ring, rings around the world”.
The appearance of the slightly evil-looking red bear from the cover of 'Radiator' on the giant back screen is a prompt for the band , with the addition of two trumpet players, to play 'Demons' from that album followed by the Welsh-calypso of 'Northern Lites'. Heralding a mini-set from 'Mwng' the cover star, a pipe-smoking, goat alien is now on the screen. The unjoin-in-with ability of 'Mwng' drops the atmosphere a little but what it lacks in comprehension is more than compensated by some of the loveliest melodies in the SFA catalogue.
'Hello Sunshine' the track they reputably nearly sold to a globally-known manufacturer of brown, fizzy drinks is well sung down the front by those wishing to “ming” with each other. The mad light show and lasers really kick in during the surprise inclusion of 'Zoom!' from the 'Love Kraft' album.
For an extended encore they've raided the dusty props cupboard as the horned keyboard and Red Power Ranger's helmet make their reappearance for a brass and techno version of 'Slow Life' which was a previous set opener. The bouncing pop of 'Golden Retriever' with the title animal still sprinting across the back screen leads onto their own 'Bohemian Rhapsody' or 'Paranoid Android', the multi-part Receptacle for the Respectable' which starts as a sweet melody, ends as a psychthrash out with distorted vocals via an instrumental passage which on the album features Sir Paul McCartney providing rhythmic crunching of carrots and celery, Gruff replaces Macca tonight on celery (a significant section of which is currently in my freezer and is open to any sensible financial offers).
A likely strategic purchase of 2 pint cups of lager by a group at the front is in readiness for the final track we all know is to come, so when the chorus of 'Man Don't Give a Fuck' kicks in its arms, legs, bodies and beer in the air. Most of the band temporarily depart leaving the lasers and Cian Ciaran to manipulate 10 minutes of techno from his kit, as the blips and beats reach climax the full band return to finish the track dressed as two characters not seen since the 'Guerilla' tour and Bunf, Guto and Gruff as the yetis from 'Golden Retriever' who had reportedly been assassinated many years ago at Hammersmith Odeon, for the grand ending to the night.
The reception for SFA live return has been extremely positive and based upon this set list, of which they could have replaced half and not diminished the overall quality of the evening, the trippy visuals and crazy lights and laser it's not surprising. Perhaps it's time to release this Super Furry Animal from its cage full time.
Alisdair Whyte
- Live Reviews
Sitting in the gallery of the Buxton Opera House amongst the gold-painted decorative mouldings and ceiling paintings of Rubenesque cherubs you get a vertigo-inducing view of the top of Blair Dunlop's head.
The knowledgeable Rock club reader will not need to be reminded of Blair's musical parentage, which is becoming increasingly irrelevant as at the age 23 he has already released two fine albums of acoustic based, singer-songwriter tracks.
He opens the set tonight with the complex fretboard fingering of 'The Station' from his most recent album 'House of Jacks'. A quick check on the audience's appreciation of Christopher Marlowe leads to ' Secret Theatre', which is written about the playwright. A new song 'No Go Zone' is dedicated to the hysterical news reporting on the state of some British inner-cities. Blair finishes his set with his interpretation of the traditional Scottish ballad ' Black is the Colour'.
Next, Oysterband with their uplifting, rousing songs with an acoustic tradition at their heart, opening with with two tracks from most recent album 'Diamonds in the Water'. The chorus of 'Where The World Divides', “I'll meet you there , I'll meet you there where the word divides” gets the audience singing.
A trio of fine instrumentals is introduced by fiddle player Ian Telfer with,“ We've sold as many tickets as Ken Dodd, that's another one off the bucket list then”, making reference to tomorrow night's main turn at the venue. The power-ish ballad of 'Dancing Just as Fast as I Can', “you can trust in the power of music...I'm dancing just as fast as I can”, features a lovely, twinkly guitar part from Alan Prosser.
Corny joke of the night award goes to Ian Telfer, “Two disciples at The Last Supper “what's that plastic bag under the table” , oh don't worry about that it's just Judas' carry-out” is best read in a Scottish accent.
The collaboration between June Tabor and Oysterband has released two albums 'Freedom and Rain' in 1990 and 21 years later 'ragged kingdom', both contain a mix of arrangements of traditional tunes and covers, one of which starts tonight as June takes lead vocal on Dylan's 'All Along The Watchtower', dedicating the “There must be some kind of way out of here” line to the general election coverage.
'If My Love Loves Me' my personal favourite track from 'Ragged Kingdom' gallops along as quickly as the protagonist Annie's horse towards what she believes is her lover's corpse, but in a surprise happy ending ,which folk music is not known for, she resurrects him with a kiss.
June and Oysterband lead vocalist John Jones share lead vocals for “All Tomorrow's Parties”, they share a joint love of The Velvet Underground and this was one of the reasons they first recorded together. A bare beautiful version of 'Love Will Tear Us Apart' sung as a duo on which the vocalist are accompanied only by acoustic guitar and cello adds a totally different feels to the song. Both bring to the fore two of our most expressive and powerful vocalists in traditional British music .
For the encore everyone including Blair is back on stage for 'Bright Morning Star', the three lead vocalists taking alternate verses and the whole band the choruses, then the traditional Oysterband set closer 'Put Out The Lights' for a final audience sing along which typifies the mood of musical celebration of the whole night.
Alisdair Whyte
- Live Reviews
A warm Monday night in Cambridge saw Beth Hart play the penultimate date of her current UK tour at the City's Corn Exchange venue. Only seemingly around half full, the intial impression was that the gig would have been a more hot and steamy affair in the smaller Junction venue down the road.
As it quickly turned out though, there was no need to fear for any lack of atmosphere because as soon a Beth started singing it becomes apparent that the larger venue is needed anyway, to contain with her amazing vocal range.
A four piece band behind her with two guitarists, really power from the off and the first few numbers are literally, primal rock. Like any fine album where your appreciation of the record grows with more listens, as this gig progressed and the pace changed from rock to blues to gentle and soaring ballads, so did the gig grow into something much more interesting than an average rock concert.
By mid-point of the evening it was easy to recognise that we were witnessing a very special talent indeed. Beth is a Grammy-nominated singer/songwriter and someone who has collaborated with the likes of Jeff Beck, Slash, Joe Bonamassa and Buddy Guy in the past.
New album, 'Better than Home' was well represented in the set which was just fine for such a solid record. The power of the band with Beth in full flight out front was really something to behold. The ballads however with Beth at the piano or just on a stood sitting centre stage were the most captivating moments of this diverse show. Songs that were gentle, spin-tingling and heart wrenching in equal measure really emphasised the depth of range that Beth's signing voce contains.
The complete set lasted 1 and 3/4 hours and during that time there was barely a gap between songs. Beth certainly seemed at ease with the crowd and genuinely happy to be back on our shores.
This was a special Monday night for sure!
Pete
photo: Ant May
- Live Reviews
We arrived on the dot of 8 o'clock to a silent, seated and darkened room in Kings Place, with The Kennedys; Maura and Pete and their gorgeous Gibson's in the spotlight. Creeping quietly to our seats, we were treated to an evening of melody, harmony and relaxed, easy musicianship.
The duo played tracks from their newest album West, Maura's solo album Villanelle (released 12th May), a few from previous albums and a new song from Pete's album scheduled for release later this year.
Playing to a room of about 100 fans, the music was stripped back to two guitars and vocals emphasising the strength of the material and the performers. Maura's voice rang true and clear, supported by gentle harmonies and guitar solos from Pete. The combination was both disarming and completely without artifice.
Each song was preceded by a brief introduction explaining its genesis, some funny, some touching, but all providing an interesting glimpse into the creative process, and adding to the informal, almost conversational atmosphere.
In a gig like this, it's hard to pick a favourite, but a few numbers really stood out such as Fireflies with gracefully sprinkled guitar harmonics from Pete, Southern Jumbo (part-inspired by their matching Gibson guitars, part-inspired by a sabotaged gumbo!), and Travel Day Blues - which spurred a few dancers on to the floor.
The set ended with the Midnight Ghost, featuring some nifty fret work from Pete, and was followed by an encore of Love at the Five and Dime.
While the show was in a somewhat unexpected format for me, this was a performance of old-fashioned, honest and earnest American country music, which I hope to repeat whenever these two are back in town.
The Kennedys album West is currently available Here
Maura's solo album Villanelle is available Here
Set list
- West
- Locket
- Fireflies
- Mockingbird
- Bodhisattva Blues
- Elegy
- Southern Jumbo
- Borrowed Dress
- Winter
- Travel Day Blues
- The Queen Of Hollywood High
- Signs
- She Worked Her Magic On Me
- I Cried To Dream Again
- Bicycle With Broken Spoke
- Williamsburg Bridge
- Mad Russian
- Jubilee Time
- Midnight Ghost
Encore: Love at the Five and Dime
Gráinne
@grainne4u
- Live Reviews
It’s rare occasion nowadays when I attend a gig and know absolutely nothing about the band I’m about to see. The only thing I had read about The Nordic Giants was that they “were fans of Sigur Ros and Pink Floyd”. Well, that’s me, so I was full of anticipation.
Manchester’s wonderful Deaf Institute was the venue for Tuesday nights entertainment, and first up, playing to about half capacity, was a 3 piece outfit calling themselves athousandfurs who were playing only their 3rd gig together.
What a noise they made together, and more importantly what a voice the singer has. An extremely powerful falsetto, reminiscent of Jeff Buckley, and some of the songs they played were similar too. Turns out they don’t have anything recorded yet, but an EP is due later in the year. If you sign up on their website, you will be sent some files at a later date.
So on to the main act, and the eerie background music was the perfect backdrop for what was to come as the lights dimmed. I took a seat at the back of the venue to get a better view of the stage as there was a projector screen at the back , and what looked like a large speaker stage centre, front, which turned out to be another screen. This was clearly going to be a visual, theatrical affair. The guy sitting next to me who had travelled down from Kendal for the evening was twitching with excitement and refused to tell me anything about the show about to unfurl.
On the duo came, dressed in elaborate leather and feather headdresses obscuring their faces, and presumably their identities, and one sat stage left at the keyboards, and the other stage right at the drum kit. The video kicked into life, showing some story of a bleak futuristic dystopian world and the music exploded into life to accompany the visuals. And what a noise they make for just a pair, albeit aided by background tapes and any singing is done by a pre recorded soundtrack.
The second track accompanied a short film about a few friends turning up at a lake for a scuba diving afternoon, only for things to take a drastic turn for the worse upon resurfacing. The Nordic Giant stage right was playing a guitar with a bow - very Sigur Ros, while the Nordic Giant stage left was on keys and trumpet at the same time. Stirring, ambient and euphoric all at the same time.
The rest of the hour or so they were on stage was much the same - soundtracking various videos of animation, live action, and a female vocalist on one track, but never predictable or anything less than fascinating. One track was played to the animation of a running horse whilst what sounded like a historical war speech was being played in the background. The similarities with Public Service Broadcasting was evident.
Just an hour had passed and our 2 heroes bowed to the crowd and made their way off stage, only to return a couple of minutes later for the encore. This was an epic film called Jojo In The Stars, and they were joined by the support band to create an even bigger, swirling wall of sound.
And then they were gone just over a hour and a quarter, but we didn’t feel short changed - they managed to cram a lot into that time.
Much discussion was then had about what we had just seen - was it a rock concert ? Was it theatre ? Was it all a bit pretentious ? and was it at all original ? Actually, who cares what it was. Were they for fans of Sigur Ros and Pink Floyd? I guess so. One things for sure it was hugely entertaining, spectacular and if it then prompts debate, surely it’s worth it?? I’ll be back for more when they return.
Keith @kjsmith4082
- Live Reviews
Bella Hardy has just released 'With The Dawn' her seventh album since 2007 debut 'Night Visiting', and has again moved the folk tradition forward with an album of her thoughts on friendships, loneliness, grief and ultimately hope and new beginnings using traditional arrangements augmented by the addition of electronic effects and beats.
With a newly shortened and dyed blonde hairdo an almost unrecognisable Bella comes on stage in a sparkly-top outfit she tells us she bought for the BBC Radio2 Folk Awards the previous week; Bella was awarded the Folk Singer of the Year Award at the 2014 version. She is accompanied by the With The Dawn band who in addition to expected instruments play a grand piano, electric organ and a laptop (yes, a laptop) which is as skilfully programmed and manipulated by album producer Ben Seal as he does on the album.
Guitarist/ banjo player (and as we learn tonight squash player) Anna Massie opens the set with the banjo intro to 'First Light of the Morning',one of many tracks from 'With The Dawn' played tonight which shows the clever incorporation of the effects and beats alongside Bella's vocals, this harmonious marriage is possibly best consummated tonight on 'Lullaby For A Grieving Man'.
'The Herring Girl' which won her the Best Original Song from the 2012 Folk Awards, concerns a young girl on trial after using her gutting knife to defend herself against a drunken attacker, sounds like a traditional song of the 1800's rather than one written 4 years ago.
The highlight of tonight's performance is her contribution to 'Songs for The Voiceless' an album of songs about The Great War ,'Jolly good luck to the girl that loves a soldier' is written from the woman's point of view. During the final stanza, “ To those whom only shells of men or ghosts of men come marching home singing “Glory, glory hallelujah...”” the rest of the band finish and Bella is left alone strumming her fiddle, on the third syllable of hallelujah she hits an almost inhumanly high note that probably rattles the glasses in the bar and sends any dogs being walked in adjacent Cannon Hill Park running for cover, as she finishes there's a stunned silence before the audience applauds. It's a spine-tingling moment.
'With The Dawn' has rightly received critical acclaim and the quality of playing tonight alongside Bella Hardy's beautiful, soaring, apparently effortless vocals perfectly transfers the recorded versions to the MAC tonight.
Alisdair Whyte
- Live Reviews
Skinny Lister bounce into town on the back of their new well regarded album Down on Deptford Broadway. Full of manic energy as soon as they step on stage, they are now harder and more powerful than I recall from last year’s Cambridge Folk Fest club tent. Reminiscent of the Pogues but more poppy and less drenched in whisky and cigarette smoke. Most of them sing but its Lorna, in the band with her brother, who is the most animated although she does has competition when the double bass player surfs into the crowd complete with instrument. Not to be outdone she joins him, waltzing with anyone who will dance…which is most of the crowd, who love her and the band and know every song.
Mind you, all their originals sound like you have known them for years after a few listens – a very good sign. Highlights include the new album’s title track, Trouble on Oxford Street, Rollin Over, slower number What Can I Say, old sea shanties John Kanacka and South Australia, and my own favourite, Six Whiskies, just made for singing drunkenly in a bar… With their London gig at the O2 Academy sold out, and a big stage performance at this year’s Cambridge FF to come, this band could go far.
Excellent support in Sean McGowan, not the famous one, as he points out early on. Nonetheless he’s a great writer, singing from the heart in a way that would make his namesake proud. First song My England (not yours!) could be an anti-UKIP anthem, then there’s the autobiographical Millbrook Road, and the powerful unaccompanied inspirational rap All the Best that ends his set.
Frank Turner, an obvious influence, has sung with him and may well do again at the London gig. Onstage he announces he’s just had a call from Billy Bragg, giving him the support slot for his 2 June gig in Southampton, Sean’s home town. He’s as pleased as punch! Comes across as a real honest young guy, not gobby, just full of passion and self-deprecating humour – it's no surprise when Skinny Lister makes him one of the band for their many encores. His is the kind of voice that those insincere ‘heartfelt’ EDM acoustic numbers by people like Avicii really need.
Kevin Hand
