Live – Squeeze at The Brighton Centre

Squeeze at The Brighton Centre, 26th November 2022

For a band who first charted back in 1978, Squeeze undoubtedly still have a lot to offer, and it’s not just nostalgia. Saturday night was cold and wet, but inside The Brighton Centre a warm atmosphere and a buzz of anticipation for the performance, that never abated throughout the evening.

When you have Dr John Cooper Clarke as your warm-up act you know it’s going to be a good night. With wit and charm as abrasive as ever, the good doctor was perhaps a bit off brand for some of the crowd but, undeterred by any such notion, he delivered his beautifully cynical observations on the world and quickly gained traction in winning everyone over. Always a pleasure.

And so to Squeeze, a band still more than cool for cats whose lyrical content is matched only by their obvious love of the music it sits alongside. Taking no prisoners on the opening trio of tracks, the crowd were treated to Take Me I’m Yours, Hourglass and jewel in the crown Up the Junction to kick things off. The perfectly matched songwriting team of Chris Difford and Glenn Tilbrook are responsible for a long string of hits over the years, and it was great to hear their new material make itself a strong mark in the setlist. With all proceeds from new EP and single Food for Thought, being donated to independent food banks, there was also an invitation for those attending to bring non-perishable items to be passed on to local food banks, and the response was huge. It warms my heart and makes me angry in equal measures that this is necessary but hats off to the band for doing this on their tour dates and taking time to talk about the Trussell Trust mid-set.

Where you find several incarnations of a band, it can often be the case that the original members will hang on the spotlight and effectively find themselves a backing band to play live with. This is far from the case with Squeeze as there is some fierce talent amongst the entirety of the band members, not to mention moves that would leave Gene Kelly pondering his place on the dancefloor from Stephen Large on keys. It was refreshing to see the authenticity of performance and, whilst you wouldn’t have to be a Squeeze fan to have enjoyed the night, the room was full of people who most definitely were.

The evening closed with an encore of Slap and Tickle and Black Coffee in Bed, and we headed out to battle the weather again with umbrellas unable to meet their need, but a bunch of songs stuck in our heads that most definitely could.

Review and photos by Siobhan and Callum

28th November 2022

 

New Music – Thomas Truax with Budgie

Thomas Truax with Budgie – Everything’s Going to be All Right

In the left corner – Thomas Truax, multi-instrumentalist, musical inventor and purveyor of all things unexpected. In the right corner – Budgie, the drummer whose instantly recognisable hooks made him the lynchpin of The Banshees and The Creatures. This could never be a dull collaboration. Everything’s Going to be All Right sounds a little as though Sonic Youth teamed up with Sparks at a very, very cool party. It’s clever, it’s fun, it’s an experiment that you’ll want be involved in. Watch the video here, and look out for Truax’s new album, Dream Catching Songs, in the new year.

Thomas Truax | Budgie

Review by Siobhan

21st November 2022

Mutations Festival 2022 – part 2 (Brighton)

Mutations Festival, Brighton – 4th/5th November 2022

It was good to see Mutations back following last year’s successful post-lockdown event. Word seemed to have spread, as we met lots of people who’d travelled from across the UK to be here.

After an energy-filled start on Thursday, Friday saw a welcome return to Brighton for Pozi at the Latest Music Bar. Some technical issues at the start of the set must have had the band reminiscing about the feedback horrors of the Great Escape, but fair play to the sound team on this occasion for getting things back on track; setting up a violin to be its best must be a challenge after a swathe of guitar bands, but thankfully not an insurmountable challenge on this occasion. It wouldn’t often come across as a compliment to say a band is interesting – Pozi though really are interesting in the best of ways, and always a good booking.

Some consternation from ticket holders that their expectations of being guaranteed entry to the headline acts at Chalk were blighted by long queues outside the venue, which seemingly was already at capacity, resulting in some missing out on the joys of Warmduscher and the eclectic stage presence of Squid. Security is often much maligned but did a great job here in appeasing the crowd and keeping things upbeat.

Happily, this seemed to have been resolved by Saturday, and not even the continuous rain could dampen the mood. After lots of strong rumours about the secret set at Chalk, The Murder Capital came on fashionably late; a general crowd-pleaser seeming pleased themselves to cause a mosh pit so early in the day.

More audience interaction over at The Albert, as Saint Agnes stepped in at the eleventh hour and brought together old fans and new – their tribute to Keth Flint, a pure punk version of Firestarter, putting a smile on everyone’s face.

And if those present thought that was a lively performance, they were about to have the stakes upped in dramatic fashion. Priestgate are always going to be in line for the most photographed band award – the fact that they could barely all fit on the stage not causing an issue as vocalist Rob Schofield is barely still for a second, and as happy in the crowd or hanging from the lights as at the front. A delight to watch and shoot, look out for a return date to Brighton in February.

Over at The Hope & Ruin, Spang Sisters brought the pace down with ease and style. With an ever-changing line up and numerous ties to other local bands, they played a beautiful set complete with flute, cello, violin, drums, bass, and some hopping between guitar and keys. It can be easy in all-day events to stick with the most outrageous or frenetic on the bill, but to master laid back orchestration is something special and those present here were onto a winner. Charismatic, refreshing, and a welcome break from ego that delivers more than any facade could.

A quick run down the road to Komedia Studio delivered a very busy room engulfed by the smoke machine. Thankfully, Jessica Winter’s vocals are consistently so sharp and on-point that they cut through the dried ice with ease. Replicating recorded versions of tracks isn’t a gift everyone has, and it’s a measure of talent and confidence that lets an artist carry off a solo performance where nothing is lost in translation – downstairs at the theatre felt like stepping into something separate from the rest of the festival, a happy parallel world in a darkened basement.

Sticking around at Komedia, finally a chance to see Hamish Hawk live – and it didn’t disappoint. Hawk falls comfortably into that cluster of Scottish vocalists who have a certain euphonious quality of tone that captivates and charms (preceded by Mackenzie, Collins, Kapranos et al). Another act returning to Brighton in the new year, and one not to be missed.

And then the inevitable choice between headliners and more intimate surroundings resulted in a dip into both. Shame brought a big crowd at Chalk, choosing a wall of sound over clarity, and won the crowd over with lots of early favourites mixed with teasers from next year’s album release.

While back at The Hope & Ruin, Fräulein showcased their grunge-tinted talents, giving a great performance and engaging the room from start to finish. The two-piece have an obvious musical connection which only seems to get stronger over time. A perfect way to end the evening.

With more to follow for those attending on Sunday from Scalping and Bob Vylan amongst others, Mutations managed once again to put together an impressive list of artists to fill the venues of Brighton, leaving the train strikes and the weather a distant memory. See you next year!

Review / Photos by Callum / Siobhan

Gallery from Thursday at Mutations here (featuring Pussy Riot, Penelope Isles, WH Lung and Pip Blom)

12th November 2022

Live – VLURE | Kynsy | Redolent at The Lexington London

VLURE, Kynsy & Redolent at The Lexington, London, 3rd November 2022 (BBC Introducing)

In a week where BBC services have taken a potential battering, a reminder of all that they do outside of the regular TV and radio shows. Thursday night saw The Lexington packed, despite the irascible weather and threats of a train strike that happily never happened – an eclectic platform to showcase three artists, all of whom are well deserving of that support.

First up, Redolent’s mix of dark drums and synth samplers drew the crowd in, with a visible upturn in appreciation as the set progressed.

Redolent

Next on stage, Kynsy impressed with a collection of songs that charged down the standard indie-pop of other acts, with accomplished vocals, great musicianship and ridiculously catchy hooks.

Kynsy

Headliners for the evening, and crashing with ease through the huge wave of anticipation for their set, VLURE maintained their status at the top of the new acts you cannot miss tree. It’s beyond me that they’re not already much bigger, but they have an astute awareness of how the industry works and of keeping things moving at their pace rather than feeling forced into saturation; a stance that many  over-exposed acts could learn from.

But this isn’t just clever marketing, VLURE have style and substance in abundance. An unexpected switch up with Alex taking vocals in her stride on the opening track, some new songs, some already firm favourites, a cacophony of sound that somehow brings calm and makes sense of the madness going on in the world right now. There’s a bit of me that wants it to stay like this, but VLURE deserve every success that comes their way and, if there’s any justice in the world, it surely will.

VLURE

And to all the teams at BBC Introducing who continually work to bring artists like this to the forefront, we’re all keeping our fingers and toes crossed for you – to lose this would be unforgivable.

Review & photos © Siobhan

7th November 2022

 

Live – The Bug Club | The Dream Machine | Hutch at The Piper St Leonards

The Bug Club, The Dream Machine & Hutch at The Piper, St Leonards-on-Sea, 29th October 2022

It would seem there’s no stopping The Bug Club, with tickets flying out wherever they play. And they have been playing far and wide, amassing followers as they go, and gifting what must be close to a 20-song set to those who came to see what all the fuss was about at The Piper on Saturday. It’s pretty simple really – they know how to write a great hook, their energy is infectious and they look like they’re having the best of times. There are still loads of dates coming up if you’re lucky enough to grab a ticket on a night that isn’t sold out, value for money guaranteed.

Support came from Liverpool’s The Dream Machine, who may also be relative newcomers but are already making a name for themselves with a nod to local stalwarts of the Merseyside scene The Coral and The Zutons, and an added layer of pure NYC punk rock riffs. Proficient and precise, the band played a strong set and look to be well on their way to bigger things. Frankly, anyone who can rock a NWA T-shirt with a crocheted waistcoat is deserving of some attention.

On the subject of attire, harp-inclusive ensemble Hutch picked up the Halloween memo and wore it well, opening the evening in style and with a gentle wash of soft-psych nostalgia; photo gallery from all three acts below.

Hosted by Acid Box Promotions and Dictionary Pudding.

Hutch

The Dream Machine

The Bug Club

Review and photos by Siobhan

2nd November 2022

Live – Frank Turner | PET NEEDS (+ Interview) at O2 Guildhall Southampton

Frank Turner and the Sleeping Souls & PET NEEDS at O2 Guildhall Southampton, 14th October 2022

Interview – PET NEEDS

PET NEEDS played the final night of a USA and UK tour at the O2 in Southampton last week. It was the culmination of weeks on the road, coast to coast across North America, touring with Frank Turner and the Sleeping Souls.

I managed to catch up with two of the members of PET NEEDS after they’d finished their sound check. The other bands were still on stage so we decided that we would go outside and sit in their tour van for a chat. The first thing Jack (drums) and Johnny (lead vocals) did was to apologise for the state of the van. I told them that after such a long tour, it had every right to look well lived in (it really wasn’t that bad at all). Looking out of the van window, we could see the queue for the gig building already.

I started by asking Johnny how the USA Tour had been for them…

The tour has been nuts! The reception we had in the States was overwhelming. We could see the momentum building as the tour went on. We even had people buying flights from the east to the west coast just to see the next show! Our favourite gig was probably the Las Vegas one, it was wild! As a place, it’s the complete opposite of my ideological position, but I think that’s why it was so surreal. It’s like the Toby Carvery of life, just too much of everything, all at once!

I see you’re heading back out for a headline tour soon

Yeah, we can’t wait, it starts in December, we’re playing Germany and then to the UK, and we’re back in Southampton too. We have a show at The Joiners which we’re so excited about. We finish the tour in Colchester for a hometown finale and it’s already sold out! That’s going to be such an emotional night!

I happen to be one of the City Managers of Sofar Sounds in Southampton and I know you’ve played a Sofar show in Oxford. How was that for you?

We absolutely loved playing it, it’s so nerve racking though. We knew that we were walking into a room where no one really knows our music, so it’s a strange experience. The audience have no idea who they’re coming to see because it’s a secret gig, as you know, but the audience was so full of love, and it was obviously made up of real live music lovers. They really are special gigs to be part of.

I listened to some of the lyrics you write and thought that some were really on the money, I particularly liked Only Happy. Where do the song ideas come from?

Lyrics are important to us. I [Johnny] write most of the lyrics, sometimes it’s based on true stories. Only Happy is based on a woman I met in a park in Germany. We were chatting about her life and her plans for the future, and she was convinced that she was going to meet the person she would marry in that city. She seemed almost obsessed with the idea. It started me thinking about whether happiness is a thing you’re aiming for or whether it’s about life being a journey of ups and downs. I hope that come across in the song.

Are all the band involved with the writing of the music?

The songs are born in my spare room on a battered acoustic guitar, and I bring them to the band and they bring their musicianship to build it to the final version. It’s all about trust, something I really enjoy compared with being a solo musician.

How is it working alongside your brother (George – lead guitarist)?

It’s really good, although challenging at the start. We both brought our own ideas, from different styles. George excels at arrangements and after about a year, we found a way so our joint creativity can show through. It now works so well for us all. We all get on so well together. We’re now on the final night of the tour and there’s not been a cross word between any of us.

So how do you see the future panning out?

We just want to keep this going. This is our life for now. We’ve got some festivals planned for next summer, but we can’t give you any details at the moment. We really want to get back to the States while we have the visa, so maybe a solo tour, or with another band. This tour with Frank really has changed our lives. It all began when one person saw one of our shows, that was the catalyst to being asked to tour with Frank, we left our jobs, and here we are. We’re really enjoying the ride and want to keep it going.

……………………………………………………

The gig itself was certainly a mix of genres. The opener was Mash Pea, a solo Afro Beats artist whose mix of singing and rapping certainly started the evening off with some energy. He was then joined on stage by Truck Stop Honeymoon, a couple from Texas, who played some wonderful Americana Country style guitar and double bass. They really engaged with the audience by telling stories from the other side of the Pond that had everyone smiling.

We then got to the PET NEEDS set. The emotional end to their epic first tour. You could tell that the lads were at the end of this emotional roller-coaster, but they played with confidence, skill and unabashed enthusiasm! From the opening bars to the final note, their energy burst through any nerves.

I’m used to photographing rock bands, so am usually ready for moving around the photo pit to get the best angles, but Johnny’s energy had me racing from side to side to try and keep up with him! If I hadn’t known this was the band’s first major tour, I’d have thought I was shooting seasoned professionals.

The rhythm section (Jack on drums and Rich on bass) drove the music perfectly, precise musicianship and an obvious joy in what they were doing. The two brothers, Johnny and George, were clearly loving every minute of their stage time together. There was an emotional pause in the set for Johnny to thank Frank Turner and everyone else who had made the tour possible. When he told the audience that they had all quit their jobs to make the band their sole focus, there was a huge cheer. Johnny joked that the audience took the news far better than their parents had! The set continued with the same energy as it started. George’s guitar solos and Johnny’s vocal working perfectly together. The only downside was the ever-problematic sound in the O2. The room acoustics are not great for punk! Some of Johnny’s lyrics, which are superb, were occasionally lost, so I look forward to seeing them at a festival in the summer so that I can hear every word and enjoy another performance.

With the audience well and truly warmed up, Frank Turner walked on stage to a huge reception. His ever-engaging style and confidence meant the crowd were in the palm of his hand from the outset. He gave his usual speech about how he wanted the evening to go. He told the crowd that they were as an important part of the show as the band. He told them the rules… “Get involved…. If you know the words, sing. If someone next to you is having a problem, help them… and above all…. (which is when the crowd joined him in shouting) Don’t be a d***head!!” Huge cheers, everyone understood!

The set was polished and full of atmosphere. An obviously well-practiced set from the tour, as well as showing Frank’s desire to have the crowd involved throughout. From my spot in the photo pit, I could hear the crowd singing as loud as the PA as it blasted Frank’s vocals. They loved it!

It was a welcome return to Southampton for Frank and his band. By his own admission, it had been far too long. I met and photographed Frank in March when he played an intimate solo gig at the Brook in Southampton, but this show was a full-on, full band experience. It was clear that the final show of the tour was a special moment for Frank and, as he said, it was a home-town show for him, and special for lots of reasons.

Frank Turner | PET NEEDS

Review, photos and interview by Peter Nicholson

17th October 2022

Live – Divorce | Safety Jacket | Ladylike at The Hope & Ruin Brighton

Divorce, Safety Jacket & Ladylike at The Hope & Ruin, Brighton, 11th October 2022

Back in March, Divorce played in the bar downstairs at The Hope & Ruin. They undoubtedly made a good impression, as this time round they filled the bigger space upstairs with their subtly sanguine post-punk tunes and a hugely enthusiastic crowd. Although still relatively early days in their musical union, it seems Divorce have found their niche and their followers, even playing a second rendition of Services to allow an audience member to take over drum duties.

In support, Safety Jacket’s camaraderie is obvious as they perform their new songs with growing confidence, and openers Ladylike impressed on only their third gig.

Hosted by Love Thy Neighbour – photo gallery from all three bands below…

Ladylike

Safety Jacket

Divorce

Review and photos by Siobhan

14th October 2022

 

New Music – H. L. Grail

H.L. Grail – Sandman

An accomplished musician now best known as bassist with revered indie quartet Goat Girl, Holly Mullineaux embarks on a new solo project under the moniker of H. L. Grail. Described as ’an honest outpouring of love, pain and disappointment’, debut single Sandman is a sonic reflection of emotions and acceptance that lulls you towards a better state of mind with hypnotic vocals and the subtle overlay of multiple instruments.

The track features special contributions from bandmates Lottie Pendlebury, Reuben Kyriakides and Ellie Rose-Davies on violin, cello and backing vocals, as well as sax by co-producer (with Holly) Euan Hinshelwood and additional vocals from Daisy Goodwin (Token Girl DJs).

Sandman is out today via Spinny Nights’ offshoot Underfoot; watch the accompanying video below and catch pending live dates in Southampton and London if you can.

16.10.22 – Heartbreakers, Southampton (w/ Robbie & Mona/Bingo Fury)
17.11.22 – Bermondsey Social Club, London (w/ Ulrika Spacek)

H. L. Grail

Review by Siobhan
Photo by Maximilian Hetherington

12th October 2022

Live – Easy Life at The Brook Southampton

Easy Life at The Brook, Southampton, 8th October 2022

I had been looking forward to seeing Easy Life at the Brook, primarily because I really like their studio work, but I had been less than impressed by videos I’d seen of their live performances, so I wanted to see for myself. The band is clearly formed around some very talented musicians, who write good songs and do offer a very different sound. However, my hopes for a true live experience were left a little wanting.

The Brook is a perfect venue for this kind of intimate live event. It gives the band a real connection with their fans and lets the fans get close to the musicians because of the unique set up at the Brook. It also has the benefit of a large balcony and plenty of room for people to find the vantage point they feel most comfortable with. Whether that’s right at the front of the stage or sat on bar stools at the back, the high stage ensures a great view for everyone. Not only is the view great, but the sound is the envy of much larger venues. No expense has been spared to make the sound work perfectly. The lighting is also a real bonus of this venue. I regularly photograph bands at The Brook and am always guaranteed of some wonderful photographic lighting. Unfortunately, the promoter of this event, for some unknown reason, wouldn’t allow me to use my professional cameras, so I had to use my simple handheld camera.

Easy Life came on just after 8:15, despite a published start time of 8pm, a minor inconvenience, and there was a full house waiting for them. My enthusiasm was immediately dampened when the backing track started. I had really hoped for a fully live set, but that clearly wasn’t on the cards. I’m not naive enough to think that everything from a studio recording can always be replicated live on a stage, but I suspect that if the backing track had been removed, it would have been a very different experience.

The most enthusiastic member of the band was, without question, Oliver Cassidy on drums. He was clearly enjoying his time on stage, and, halfway through the short set, he even walked round his kit to the front of the stage in an obvious effort to get the crown engaged. He succeeded. The crowd reacted very positively to his enthusiasm, which seemed to be somewhat lacking from the rest of the band.

There was a nice touch during the set when the raffle tickets, which had been given to everyone, resulted in one lucky girl being invited on stage and being given an album, which the band signed for her. Although Murray Matravers (the front man of the band) did smile as he conceded that they were staying after the gig to sign albums for everyone who had paid for that part of the evening.

The set lasted for about 40 minutes, which is what the audience expected, and there was a very welcome, one song encore. It was then time for those who had only paid for a ‘ticket only’ option to leave. Those who paid for the signing part of the evening were allowed to stay to have their merchandise signed by the band. As I had only paid for the gig itself, it was time for me to head out. Unfortunately, no one really knew where they were supposed to go for the signing, other than it was up on the balcony area. Knowing the Brook as well as I do, I know there is a staircase at the back of the room which leads upstairs. The organisers tried to tell people to queue towards those stairs. However, the obvious and main route to the balcony is up the stairs by the main entrance. So, despite shouts from the organisers, it had a feel of an attempt to herd cats. I was quite glad to be heading out.

Once outside I spoke to a couple of Easy Life fans who had very differing views of the show. The guys I overheard were laughing together about the short set, and clearly hadn’t realised the show would be so brief. They were good natured about it and when I chatted with them, they said they’d seen the band previously and were disappointed that some of the music wasn’t live. They wanted to see trumpet and saxophone, as well as a longer set. To be fair, the event was clearly advertised as a signing event with a 40 minute stage set. That didn’t stop the guys I spoke to laughing and saying, “Two stars from me”. To balance the disappointment, I spoke with another couple who were obviously big fans, and were thrilled to have been there, this was the first time they’d seen the band on stage.

In conclusion, the evening wasn’t what I’d hoped for from the band. It lacked some enthusiasm, apart from one or two points in the show, and I was disappointed in how much they relied on pre-recorded tracks. However, there were some real positives. The venue gave a wonderfully intimate feel and had superb sound, which, let’s be honest, is one of the most important things. It’s also great to see bands playing local, intimate shows for their real fans. So many artists who make it to the ‘next level’, often forget their roots, and no longer play at the venues they played before their ‘Glastonbury moment’. So, credit to Easy Life for keeping in touch with the real fans, credit to the organisers, and credit to The Brook.

Photos and review by Peter Nicholson

10th October 2022

New Music – The Haunted Youth

The Haunted Youth – Teen Rebel

Making music that reflects the aptly chosen moniker The Haunted Youth, the Belgian band centred around Joachim Liebens, add layers of shoegazey synth and guitar loops to what essentially is a great pop record, taking it to a different level of poignant melancholy. The initial MGMT comparisons are perhaps inevitable, however, as the track progresses it saunters more towards Euro-trance, something to listen to while the rains falls onto the bright lights of the city.

Teen Rebel is newly shared to the UK market and comes from forthcoming debut album Dawn of the Freak, due for release on 4th November via Mayway Records. “It’s therapy, a way of dealing with my existence”, says Liebens. “And I hope this album will be universal and accessible enough for others to enjoy it in the same way.”

There’s a suggestion of UK dates coming soon; with a schedule across Europe for the rest of the year it looks likely that we may have to wait until 2023 for the pleasure.

The Haunted Youth

Review by Siobhan

4th October 2022

New Music – Forgetting the Future

Forgetting the Future – Cigarettes, Cigarettes, Cigarettes 

It can’t get much more indie-rock than Forgetting the Future’s latest Cigarettes Cigarettes Cigarettes, a track that bounces along with carefree danceability, one that’ll give it high praise in the crowds of future gigs. Rather than trying to weave in a joke about forgetting their future gigs (haha), lets just talk about the track, yeah?

With a strongly vibrant intro, Cigarettes*3 begins. Its verses are subdued, giving vocalist Robbie McNicol his first chance to sew seeds of a story that holds some darker, yet titularly related, beats. References to a cold atmosphere where electric bills are replaced with drugs seems to hold its influence in our current CoL crisis, snuck within the happy go lucky tune like poison in your vodka coke.

As we continue, the band are treated to higher distortions. The second verse feels grittier, ‘cooler’, fuelling the fire of both the song and story. It comes to its pinnacle, as expected, in its bridge, with the energy of drums, guitar and bass boosting up to beat rhythm between McNicol’s triplets, exploding into a final four bars of pure rock energy.

With its mingling of fun, worrying undertones and musical bombast, Forgetting the Future have set themselves up for a line of upcoming gigs that are sure to impress, throughout Scotland this November.

Forgetting the Future

Review by Jacob Rose

26th September 2022

Live – Marillion at O2 Guildhall Southampton

Marillion at O2 Guildhall Southampton, 22nd September 2022

It was another sold-out performance for the return to the South Coast for this iconic, genre defying band.

Steve Hogarth, who has fronted the band since 1989, joked with the audience that he hated the terms often used to describe their music. “Prog Rock? I don’t like that… Orchestral Rock? I like that even less… Symphonic Pop… that’s the worst!”. He then smiled and said, “However you describe what we do, I hope you enjoy the show”. So, not wanting to argue with Steve, I did exactly that, and I won’t try to pigeonhole them, other than to say that it was a superb evening of unique music with an attention to detail that is rarely seen in live performances.

Two of the unseen heroes of the evening were, without doubt, were the lighting and sound engineers. Using a huge Midas sound desk, (which I imagine the Road Crew hate) the less than perfect acoustics of the O2 in Southampton were brought to life. Together with a stunning and perfectly engineered light show, they made this relatively small venue feel like a London Arena.

The band played a two hour set and were ably supported by Luke Jackson whose opening set was full of his wonderful vocals and faultless acoustic guitar playing.

Like most audience members, I often dread the words “We’re going to play the whole of the new album for you”. Like most, I really want to hear the songs I’m familiar with, but on this occasion, it was a joy to hear such a polished set from musicians who clearly gel together so well and clearly still enjoy playing together, even after so many decades in the business.

Steve Rothery’s lead guitar was as perfect as ever. Each note practiced and polished, drawing on years of playing live. He stood (almost motionless) in his usual stage place and looked lost in the sound. The keyboard and the rhythm section were equally well rehearsed and a testament to the adage that practice really does make perfect.

At the end of the show, there was a long standing ovation before the obligatory encore. A full house of very happy Marillion fans left the venue feeling they had been treated to a spectacular show. The tour continues around the UK before heading to Europe. Catch it if you get the chance.

Marillion

Photos and Review by Peter Nicholson

Peter is a Southampton based photographer who specialises in Concert, Live Music, Performance and Show photography. He also runs Sound Level and Sofar Sounds on the South Coast. We’re delighted to have him join the Breaking Glass team; do check out his work on the link above.

24th September 2022

Live – Altered Images | Vanity Fairy at Concorde 2 Brighton

Altered Images & Vanity Fairy at Concorde 2, Brighton, 13th September 2022

There’s always an element of a gamble in seeing an artist whose music you’ve listened to as you grew up. Will it bring back happy memories or feel like a tribute to the past? No such concern with Altered Images as, in addition to the classics, Clare Grogan has continued to stake her place in the music world, with collaborations on latest album Mascara Streakz with both Bernard Butler and Robert Hodgens, better known to most of us as Bobby Bluebell.

The set at Brighton’s Concorde 2 showcased her ability to hold the audience in the palm of her hand with a mix of great tunes, storytelling and an instantly recognisable voice that still sounds as strong as ever. It rained for most of the day on Tuesday but the night ended with a spark of pure sunshine; impossible not to enjoy this.

And a shout out for an inspired choice of support as Vanity Fairy won over the crowd (not an easy task when you have a fanbase this established) with their enchanting synth-disco tunes, complete with a vocal worthy of the love child of Kate Bush and Sylvester.

For one night only, the seafront had more sequins than pebbles – which is no bad thing.

Vanity Fairy

Altered Images

Words and photos by Siobhan

16th September 2022

 

Live – THEIA at Rock City Nottingham

THEIA at Rock City, Nottingham, 14th September 2022
(Supporting Magnum)

Brothers… who’d have them! An easy question for Kyle and Ash Lamley, the fraternal duo who make up the incredible multi-genre combo, THEIA.

I caught up with the guys backstage at Rock City before they took the stage on the 3rd date of their tour supporting mighty Hard Rock icons, MAGNUM on their 50th anniversary tour.

Prior to my visit, I’d been listening to the young band’s catalogue and could only question how the duo secured such a prestigious support? Elder brother, singer Kyle, explained that Magnum keyboard wizard, Rick Benton, had been a college inspiration and the personal connection was made there.

The brothers are chatty, relaxed and very funny. If you get to meet them, ask how Kyle, being an official Teletubby, met the love of his life! They’re great storytellers, which translates into well-crafted and often introspective lyrics of their songs.

Outside Rock City the queue of Magnum fans began early and I couldn’t help but wonder how these hardcore rockers would receive this young band!

As the Lamley brothers took to the stage, their clever use of theatrics engaged their audience instantly, before even striking a note! Kyle announced the band’s arrival with a large placard emblazoned ‘APPLAUSE’, followed by a quick flip to reverse, ‘MANIC SCREAM,’ the crowd dutifully followed. Behind the drum kit, younger brother, Ash, adorned an enormous pair of inflatable hands to add extra fun and warmth to their unusual introduction.

With the audience already on their side, THEIA opened with Fire, establishing the tone for the remainder of the set with strong beats, brave lyrics and infectious energy. This was followed by fan favourite, Blue Heart.

As the crowd swelled in number, following a perfect rendition of the emotional There’s A Boy , telling the story of Kyle’s growing up with Type-1 Diabetes, Ash emerged from behind the drum kit to re-ignite the room by leading a dynamic, fun t-shirt give-away .

The set concluded with a great singalong, HooWoo; the entire crowd by this time having quadrupled in size joining in as one!

For a novice THEIA gig goer, this was a young band’s masterclass in how to win fans and influence them!

Good luck THEIA; based on that performance, your future is assured!

THEIA

Words and photos by Tina Sherwood at All The Ts Photography

16th September 2022

Live – VLURE at The Moth Club London

VLURE at The Moth Club, London, 9th September 2022

And so it builds – new songs like blankets you can wrap yourself in, a growing fanbase travelling far from home, a sense of expectation that is never disappointed – the rise of VLURE isn’t stopping any time soon.

Never Heard of Ya’s combined 3rd birthday and farewell party filled The Moth Club on Friday night, and there’s little doubt about who stole the show. Every VLURE set feels like a privilege to witness, something you’ll never regret making the journey for. And catching familiar faces in the crowd is becoming a regular thing too, a strong sense of being in on an increasingly less well kept secret.

With the stage ferocity of The Snakeheads, the pulsing tempo of heavy dance beats and the propulsion of all that was good about 80s’ electronica, if you’ve not caught this band live yet then don’t sleep on it for too much longer… but be nice and save us a space at the front.

VLURE

Words and photos by Siobhan

12th September 2022

All Points East Festival 2022 (London)

All Points East Festival, London, 28th August 2022

With a propensity for pulling in the biggest names, All Points East returned this year with another impressive run of weekend events that included headline slots from Disclosure, The National, Tame Impala, Gorillaz and culminating last Sunday with Nick Cave & the Bad Seeds.

Cave’s last performance at APE in 2019 is still revered and doubtless this one will be talked about for a long time too. A captivating showman with a setlist spanning the career of The Bad Seeds, the two hours plus on stage was once again a showcase of how to hold a crowd in the palm of your red right hand.

Still, there were plenty of reasons to be there earlier in the day too with some excellent main stage sets from Chilli Jesson and Kae Tempest amongst others. Jesson seems to be more accomplished with each performance, and Tempest could easily have been much higher up the line-up and without doubt captured some new fans.

Over at the BMW #PlayNext stage, lots of new talent throughout the day with exciting sets from Attawalpa, Bonnie Kemplay and fast rising stars The Dinner Party.

The North stage played host to some great music with light shows to match from the likes of Jehnny Beth, Spiritualized and Sleaford Mods, while the Ray-Ban West stage had the pleasure of Michael Kiwanuka’s presence, always a flawless production.

An eclectic mix and an open opportunity to see some firmly established acts while discovering new breakthrough artists just around the corner. Looking forward to seeing who APE manage to sign up in 2023.

Words and photos by Siobhan

7th September 2022

Victorious Festival 2022 (Portsmouth)

Victorious Festival, 26th-28th August 2022, Southsea Common

Long established as a local festival, Victorious has grown over the years and now attract tens of thousands of people from near and far across the late summer bank holiday weekend. Family friendly and with some huge names performing, there’s a wide variety of music and activities running over the three days and, at the risk of throwing in a well versed cliche, there really is something for everyone.

Previously a two day event, the Friday opener is now well established and this year kicked off with Primal Scream playing in the hot, hot sunshine. From Bobby Gillespie’s Screamadelica inspired suit, to the gospel voices joining the stage, to the entire crowd singing along to Come Together, this was the perfect start to the weekend and a beautiful reminder of the power of live music.

Another standout on the main stage was (unsurprisingly) Self Esteem. Victorious has been criticised in the past for a lack of female artists on its line-up. It was really good to see a significant turnaround on this, as the rows of teenage girls loving every second of this set will attest – would be great to see a switch-up in the daily headliners too next year – 2022 offered up Stereophonics on Friday, Paolo Nutini on Saturday and Sam Fender on Sunday. Other big names across the weekend included James, Anna Calvi, Bastille, Sports Team, Anne Marie and Suede.

There was also plenty going on at the selection of smaller stages with some great showcases from loads of local favourites – amongst others Jerry Williams, Marley Blandford, Flowvers, Welly and the inimitable Van Gosh, who never disappoint visually but don’t be lulled into thinking they’re just a gimmick band; they can really play. Lots more to see and discover across the common too with a kids’ area, comedy tent, skatepark and an impressive choice of food and drink vendors and festival shops.

All in all, a really successful weekend with lots of memories made. If you want to join in the fun, tickets for 2023 are on sale now here. Check out our photo gallery below and see if you can find your favourite act (or even yourself) in there!

Common Stage

Primal Scream

Primal Scream, We Are Scientists

Self Esteem

Soak

James

Acoustic Stage

Paddy Taylor

Amba Tremain, Margo Cilker, Jerry Williams

Marley Blandford

Beats & Swing Stage

Utah Saints

Showcase Stage

Ben Brookes

Andy Foster

World Music Stage

Hutch

Welly

Castle Stage

Sports Team, Coach Party, Only The Poets

White Lies

Casemates Stage

Filta, Jordan Duke

Flowvers

Van Gosh

Words by Siobhan
Photos:
Acoustic Stage, Beats & Swing Stage, Showcase Stage and Casemates Stage by Hannah Mesquitta
Common Stage, World Music Stage and Castle Stage by Siobhan

2nd September 2022

EP Review – Lizzie Reid

Lizzie Reid – Mooching

Mooching, the latest EP from Glasgow singer-songwriter Lizzie Reid, captures the strengths of any sophomore project; not only does it catch the highlights of Reid’s previous work, but it explores new tonal realms, allowing the work to capture a weaving landscape of the indie folk artist’s sound. To appreciate the realms explored, it only feels right to cover each within its own space.

To do this EP justice, it is worth exploring each track, beginning with the last single before the EP’s release, titled Love of Her Life. The track showcases some Reid-esque qualities, with the verse taking atmospheric and melodic qualities from her previous EP Cubicle. What makes this track fresh from its predecessors is, strangely enough, Reid’s mastery of the presentation of emotional complexity. The chorus’ lyrics “She told me I’m the love of her life” / “She told me even when she changed her mind” hold true to this; the combination of beautifully reverbarating piano, slowly effective percussion and twangy electric guitar backs the message with a tune that feels both intimate and lost, both mournful and hopeful – a mysteriously captivating way to open Mooching.

Next up is Bible, the first single release. Since its first appearance on Breaking Glass, the tune retains its piercing emotion, feeling just as yearnful here as in its solo debut.

Soda Pop Stream provides a new sensation in the LR discography, being (no matter how old it makes me sound) Cool. The track punches hard, with a tiptoeing 6/8 rhythm that gives Reid a chance to display some suave aspects of her personality. The line “I will heat up your plate with my face” rings in my head as I write, even if I don’t truly know what it means just yet.

From making rhythms with flames to painting in teardrops, How Do I Show my Love details the role that panic attacks have had in harming Reid’s relationships. In her own words, “When I sing this song it makes me feel how hard it has been to stay connected and express my feelings for certain people I care about”. The anguish at the heart of the track rings throughout, but in its message comes a feeling of catharsis. A repeated image of Reid’s painting of a man and his dog becomes an art that brings a feeling of strength. In the talent in her expression, Reid brings pain into a light where it can dissolve into experience. 

Blazing into its finish, Mooching ends with Warpaint. The tune has a pop quality that once again brings out both the old and new of her style. Reid’s ending here adds the same singalong quality of cubicle, almost communally celebrating the triumphs of her record. It’s no wonder, considering the trials faced and strived through within this collection of songs, that this moment feels joyous, adding the frame to the art that she has created. With it, Reid’s portrait of love, connection, heartbreak and adversity is complete, demonstrating an extremely open, divinely performed reflection on life.

Lizzie Reid

Words by Jacob Rose
Photo by Matilda Hill Jenkins

1st September 2022

Live – Everything Everything at The Wedgewood Rooms Portsmouth

Everything Everything at The Wedgewood Rooms, Portsmouth, 24th August 2022

I think it’s fair to say that the past two years have been pretty rough for us all. The live music scene has certainly had its share of struggles since the initial outbreak of Covid-19, but amongst the endless doom and gloom there is cause for optimism.

Back in the summer of 2020, the Revive Live campaign (a partnership between The National Lottery and Music Venue Trust) launched to help independent venues survive post-Covid. Its mission is to support UK grass roots venues by bringing big artists to intimate crowds, and well, so far so good.

Manchester art rock heavyweights Everything Everything grace the Wedge’s stage tonight to a sold-out crowd, but first up we have Hayden Thorpe. Performing as a solo act, Hayden conjures up a calming atmosphere which is unfortunately punctured by the gathering crowd’s constant chatting. However, Hayden seems unphased for the most part and looks to be enjoying himself. Good for him.

Having only heard a handful of tracks from Everything Everything’s six album discography, I’m told that their latest album Raw Data Feel is one of their best. Luckily then tonight’s set leans heavily on that cache of tunes. Teletype kicks things off, and the crowd are immediately singing along to every word and dancing like they’re VIP guests at the world’s greatest indie-disco circa 2005.

Watching the set unfold at a steady pace, I feel that Everything Everything are a band that is greater than the sum of its parts. Michael Spearman’s drums are loud, punchy and straight to the point. This approach then complements Jeremy Pritchard’s tight rolling bass grooves, whilst Alex Robertshaw’s efficient yet effective guitar leads provide plenty of texture and dynamics to songs like Jennifer and Night of the Long Knives.

Singer Jonathan Higgs’s passionate falsetto vocal delivery rounds off the Everything Everything sound, and it’s during Kemosabe where it really shines. The crowd sing along loudly, and Higgs can’t help but smile throughout as his words are pelted back at the band with more enthusiasm than I’m used to seeing these days.

Now, I have already admitted to not being well-versed on the subject of Everything Everything’s back catalogue. However, the last three songs of the main set are really impressive. Here we get the triple threat ‘bangers’ Bad Friday, Cough Cough and I Want A Love Like This. Each track is a total ear worm, and I’ve had them stuck in my head since the show. I Want A Love Like This in particular gets my vote as Robertshaw moves over to play synth, and Higgs’s voice soars during the chorus. I feel alive indeed.

We had to leave before the encore sadly, but judging by the band’s performance tonight, I would say Everything Everything are a solid and enjoyable live act, and it was fun seeing them play on a smaller stage. So, support the Revive Live campaign, support your local independent music venue and maybe knock the chat on the head whilst the acts are performing.

Everything Everything

Words by Ryan Howarth
Photos by Hannah Mesquitta

31st August 2022

New Music – SOMEONE

SOMEONE – In Your Arms

It’s perhaps unsurprising that the video for In Your Arms takes a leap into a DIY sci-fi world of discovery as the song itself feels ready made for a cinematic soundtrack.

SOMEONE (aka Dutch/British composer, producer and visual artist Tessa Rose Jackson) presents her creative talents through multiple channels and sonically achieves a dreamy psych-pop  music-scape that is both intriguing and absorbing. This new track starts with a sense of calm then builds to a crescendo of scattered synths without losing its initial serenity.

The video is beautifully shot by David Spearing, and depicts two young girls ‘as they emerge from subterranean bunkers for an adventure in what SOMEONE describes as “A post-apocalyptic world, where the air is toxic and terrifying six-legged creatures prowl the land. What follows is a day filled with fun and play, because no matter what the world may throw at them, kids will always find a way to just simply… be kids. It’s a celebration of the power of joyfulness and love against all odds”.

In Your Arms is taken from upcoming album Owls, due for release in February via Tiny Tiger Records.

SOMEONE

Words by Siobhan
Photo by Bibian Bingen

31st August 2022