Category: Live Reviews

Alexisonfire w/ Chickenhawk, The Computers
The Forum
11.11.10

What a bill. Alexisonfire played The Forum at about the same time last year but tonight is different. For one, the venue is ridiculously rammed full of bodies. Later in the evening, it’s a stretch to even see the bar, let alone get to it. It’s also a stellar line-up tonight with the Brits fighting their corner admirably as The Computers and Chickenhawk kick off proceedings with as much energy as their headlining Canadian counterparts. The Computers’ hardcore’d up rock’n’roll clearly intrigues the crowd and they yelp their way through an engaging set before the much hyped (and rightly so) Chickenhawk take to the stage. Rather on the darker side than either of the other bands tonight, the Hawk deluge a storm of dirgey riffs on an unsuspecting crowd. They seem slightly bewildered at the size of the venue but there’s no doubt that their loud sound was meant to fill such venues.

Alexisonfire are veterans of the UK scene by now and boy do we love them. Everyone in the venue’s attention is undivided throughout the band’s lengthy set. The band are on stage for at least an hour and a half and their enthusiasm knows no bounds. Vocalist George makes his way all the way up the steps to the upper level of the venue at one point. And bassist Chris writhes around on the floor like a worm on ecstasy several times throughout the night. A varied setlist sees Alexis traverse their extensive back catalogue, taking in tracks from their self-titled first album right through to latest EP track ‘Dog’s Blood’. And the quality doesn’t waiver. Every song sounds massive as George’s yelps and half-singing intertwine with Dallas Green’s silky smooth melodic vocals.

Such a hearty singalong has rarely been heard as the crowd join in at every opportunity. It also has to be said that Alexisonfire facilitate such group singing moments of brilliance with their fantastic incorporation of as many as ‘Woahs’ as possible into as many of their songs as possible. I’m not sure any other band could get away with making this device sound consistently brilliant. Cropping up in the encore, towards the end of the evening, ‘Accidents’ is the perfect example of this. Kenny from Moneen also pops up during the encore to help with some vocal duties looking like an excitable child. Overall, Alexisonfire put on one of the performances of their lives and everyone present is appreciative to the max.

Winegums

Islet w/ Gyratory System
Cafe Oto
11.11.10

Walking into Dalston’s Cafe Oto, it becomes quickly clear that there’s something a little different about tonight’s show. I’m not sure if it’s the fact everyone is sitting on chairs like a school assembly, or it could be the bizarre mixture of brass and electronics being created by avant-garde three piece Gyratory System, but something doesn’t fit right. The best policy seems to be to go with it, this is an ATP show after all, and there are few hands more capable of putting on something spectacular.

As Gyratory System finish, leaving me puzzled although undoubtedly entertained, the chairs are removed clearing the way for the mighty Islet to take the stage (or lack of a stage, as it turns out). Anyone lucky enough to have caught Islet already will know what to expect, which to put it quite simply, is perhaps the UK’s most entertaining live band. It’s their use of environment which is most fascinating, using the walls and ceilings as percussion and leaving no space in the room left undiscovered. Speaking of percussion, the band makes use of two, sometimes three drummers using all aspects of the instrument and drawing sounds from areas you’d never expect.

The set is comprised from recent EP releases ‘Wimmy’ and ‘Celebrate This Place’, which are at times fused together such as the hybrid created from tracks ‘Powys’ and ‘Holly’. Highlights come in the form of ‘Horse and Dogs’, said to be a song about police brutality, and ‘Jasmine’ with its successful blend of driving bass sounds and a tribal vocal. It’s nearly impossible to describe the impact of Islet’s performance, and I can only stress that you should catch them for yourselves before they implode in on themselves like all the best bands do.

Big Sleeks

KOKO, London
17/18th October

Below: DJ Switch – Battle For Supremacy Champion

Now in its 26th year, the DMCs has continued to expose the hottest, most talented DJs on the planet. This year the venue is Koko in Camden and the place is packed with critical eyes and party people alike, all looking to be blown away by new sounds.

Split in to two nights, the first night kicks off with the Battle for World Supremacy; and for the third year running the UK’s DJ Switch flexed his super confident swagger to take out DJ Pimp and Solo to make a final with France’s champ, DJ Getback. Needless to say, Switch wasn’t in any frame of mind to hand his crown over to a Frenchman; and after Getback showed a lot of flare, Switch is just born to battle and the judges swayed in his favour for his 3^rd title.

The live PAs on the night came from Reeps-One and Eklips, two beatboxers battling each other in the same style the DJs had moments before, and the pair of them really stepped up a level and maxed out for the crowd managing to throw out some dubstep sub-bass to keep the place shaking. The other PA was the outgoing world champ, New Yorks DJ Shiftee. I would have preferred to see him competing, but at any level he hasn’t a thing to prove. Regardless he gave a timely reminder of what’s expected from a champion and killed a 20minute set of eclectic hip-hop and breaks. Brazil’s Yarah Bravo, accompanied by Vadim threw down a sassy set with purple hair and insane dress to boot, this pushes the venue in to party mode.

On to the team finals, and this is a hotly contested affair, with the UK, France, USA and Japan all having worthy winners in the last few years. The UK’s Bionic Stylus Crew put a few live tracks together, but didn’t really hit the levels of France’s Trauma Team who probably hit their peak in this competition with a well versed 4 man scratch setup. But it was Kireek from Japan that made the crowd make the most noise, combining technical excellence without boring the crowd. They managed to make the place jump with their slightly less regimented two-man routine which had the air of a freestyled set, mixed with a solid plan and most importantly they had fun doing so. The judges couldn’t fail to award them their 4^th title, well deserved too.

Below: DJ Ligone – World Champion

The second night is the main event, the battle for the crown of World’s best DJ. We were treated to a comedy AV set from DJ Woody, as well as one from Shiftee and the inventor of the scratch, Grand Wizard Theodore stepped up to show the crowds where it all started, albeit with a blindfold on for some of his mix! The finals attract more and more each year, riding high in the crowds expectations are the UK’s Jeppa and Japan’s DJ Co-Ma, but the crowd gets right behind Japan’s DJ Blu who drops the most exciting set and has everyone bouncing with a reworking of a Dre beat. When the results come in it’s Frances’s Ligone that takes the title with a very intricate set, standard for French DJs these last few years. Co-Ma got 2^nd, but didn’t reach the level of his previous years set, with Blu edged out to third. The crowd were a little shocked that Blu didn’t take this.

The DMCs announced that next year people will be able to use digital programs in their mix, so perhaps the emphasis will go away from tricks to a more varied musical sound. Already the beats have evolved from hiphop, to breaks, to dubstep, so this can only be seen as a positive progression. One thing is for sure, London still loves a superstar DJ, and there are plenty of DJs eager to step up to the plate for next year’s competition – let the qualifiers begin!

Phil Proctor

From left to right: DJ Jeppa, DJ Blu, DJ Co-Ma, DJ Ligone

Forum, London
01.11.10

Heading out to Kentish Town might not be everyone’s idea of a fun Monday night out, but walking towards the Forum to see Big Boi, it was as if the Yellow Brick Road had transported itself from Oz to light up the way from the tube station. The venue might not have been anywhere near capacity [much to my chagrin] but once the most talented member of Outkast stepped onto the stage, those that were in attendance were immediately ready for a party.

Kicking things off with some older Outkast material, which many thought he wouldn’t play as it was, after all, a solo show rather, Big Boi got everyone moving and clapping along to ATLiens, shouting about fish and grits before moving into favourites like So Fresh, So Clean. Every chorus was hollered back by the beaming crowd and when he broke into the material from this year’s Lucious Leftfoot… album, the volume ramped itself up even more.

General Patton‘s booming bassline, the sing-a-long chorus of Follow Us and Fo Yo Sorrows all proved their worth and Shutterbug, arguably the biggest of bangers from his album got the biggest cheer of the night. It’s definitely a song that is going to stand up amongst his impressive back catalogue when looking back in years to come.

Hits like B.O.B., The Way You Move, Ms Jackson, Ghettomusick and even the Purple Ribbon banger Kryptonite were dropped around classics Player’s Ball, Elevators and Southernplayalisticcadillacmuzik with his DJ cutting up the videos for every track played on the big screens either side of the stage – impressive indeed. And when he returned for the encore of Tangerine and Ain’t No DJ, it was clear by the response of those in attendance that this was a Monday very well spent.

I just want to be his best mate.

Abjekt.

Jazz Cafe
26.10.10

Last time Black Milk played a show in London, he rocked a packed out Cargo, delivering his sharp, snapping drums from his albums Tronic and Popular Demand to a baying crowd who hung on his every word. A hard act to follow no doubt, but the Detroit producer and rapper managed to top it thanks to his live instrumentation, which featured keys and drums as well as a DJ and some tracks from his new opus Album Of The Year.

Appearing from the balcony at Camden’s Jazz Cafe, a venue he recognised as legendary and felt privileged to play, the man otherwise known as Curtis Cross dropped down as Long Story Short smacked out from the speakers and hands were immediately raised in salute before pounding the air in support. The old tracks garnered a lot of cheering from the brilliant Losing Out [sadly without Royce appearing] and Give The Drummer Some which allowed the drummer to showcase his energetic and infectious rhythmic talent.

The new tracks also went down well with Black And Brown, Oh Girl and Distortion whipping up a frenzy, despite the album not having been out long, which only goes to show the talent of the producer and rapper, who performed with a smile on his face throughout. Not to be outdone, AB, his keyboard player, a demure and understated chap, provided some sung hooks with a soft yet extremely powerful voice.

So with the crowd shouting out tracks and vocally showing their support for J Dilla, the show ended with Sound The Alarm to cap off a very enjoyable night for performer and punters alike.

Abjekt.

The Forum/93 Feet East
29.10.10
Photography: Lionel Tapper

Below: Black Pacific leaaaan back

Despite having a gloriously full line-up of acts – Sum 41, The Black Pacific, Riverboat Gamblers and Veara – we only managed to catch a sliver of Sum 41’s set at The Kentish Town Forum. What we do see though is everything you would expect of the band, in a good way. The venue is packed to the rafters and the air thick with perspiration as kids (and those who were kids when Sum 41 first came into existence) bound around and sing their hearts out with unending energy. Fortuitously, we manage to catch “the hits” ‘Fat Lip’ and ‘In Too Deep’ which obviously go down a storm and sound just as anthemic as they always did.

Leaving the venue we are met with the surprise of two double decker buses which are there to take a chosen few (competition winners and media etc) to 93 Feet East for the afterparty. Quite a novelty but also quite handy, meaning that we can avoid the trek from North to East via multiple transport links with one direct mode of transport. Nice. Once we arrive at the site of the party, we’re chivvied upstairs to a private room where we’re greeted with a free bar (yes, it appears they do still exist). So suffice to say it was a rather raucous occasion as Jim Lindberg (formerly of Pennywise; now of The Black Pacific who performed earlier in the night) and one of Sum 41 took to the decks for eclectic but well-received sets. Everyone was merry to say the least and partied into the wee hours of the morning. A very successful Friday night!

Chirps Galore

Sum 41 brought out the teenager in all of us.

Shoreditch,
Friday 29th October

The last time we witnessed Atlanta’s Black Lips grace a London venue they played a typically feisty set at the Electric Ballroom and went home fighting each other, so their return to UK soil tonight was always going to be interesting. From the set list that they brought to this Dr. Martins branded free show it’s clear that the band have been focusing on a return to form, by writing more of those amazing catchy garage pop tunes that they are known best for and tonight the Lips decided to treat the audience to a bunch of these at 12.30am to a pissed up crowd who were fueled by an impressive £2 bar.

Opening track Sea of Blasphemy was greeted with a lively pit which only increased with enthusiasm to the sound of 2009’s single Drugs which is played as if it’s hanging on a hinge. New song Let’s Go Out and Get It calms things down a bit as people judge their new work before O Katrina brings the first storm of the stage with the invasion shutting the PA down and bouncers wondering what the fuck is going on. This is exactly what I love about seeing this band, they invite the party to the fridge, stock it with hard liquor and then drink it with everyone up close.

When the PA finally gets switched back on and brows are wiped of Jack Daniels and Carlsberg the down tempo Dirty Hands brings the Beatles’esque sing-a-long to the dance floor followed by the new found, countrified swill of Dumpster Diving, another new track inspired by drummer Joe Bradley’s passion for jumping into bins. I did this once on the Strand, pissed off my tits on shots and ended up rising with a chestful of another man’s dinner and ale that had been puked up and left for someone as wasted as me to dive into to. Joe’s experience was slightly more fruitful as this new track apparently pays ode to his lucky dive in Hawaii where once inside the wheelie bin he found a lap steel guitar that is actually used on the new recordings the band have been working on in the studio recently.

Spirits are raised to the familiar sounds of Cold Hands, one of the stand out tracks from 2007’s Good Bad Not Evil album, the record that really brought Black Lips to the attention of the UK press and beyond. The new tracks that follow sound in a similar vein, as if the band have decided to rekindle the upbeat vibes of this cherished release following the mixed reviews that followed the release of 200 Million Thousand. New stand out tracks New Direction and Family Tree both front big choruses powered by the Lip’s most infamous garage steez and get a great reaction before the metal-mouthed Ian Saint Pé informs the baying crowd that Bad Kids will be the finale of tonight’s entertainment that only ignites another full stage invasion to end the set.

Overall their fans should be stoked with the new tracks that are said to be released in March 2011 produced by Deerhunter’s guitarist Lockett Pundt and with rumours fueled by a studio interview with the band on the Spin website this year suggesting that Cole and co have also reached out to producer Mark Ronson, their 6th album could see a return to the catchy garage pop that they are most famous for.

Dani Alves

London KOKO
26.10.10

The last time I saw Flying Lotus, it felt similar to a cold winter morning when your car doesn’t properly start, so you turn on the ignition, sit for a while and wait for it to heat up. The difference being that even though you may have a clapped out Fiesta which is closer to the scrap heap than tarmac, FlyLo working full throttle is the equivalent to the A-Team van careering around Woodstock; far out.

Ironically for someone who valiantly eschews any notion of predictability during his live productions, this similar scenario happened at Koko; with an introductory blitzkrieg of off-kilter drums and keys acting as the pre-cursor before Zodiac Shit’s breezy strings seeped through the musical melee. It certainly sounded huge, owing a lot to the Harman Pro sound system, which must be a recent fixture as a few years ago it would have sounded swampy.

Nose Art had an almost teasing build up before the fuzzy bassline rippled through the crowd and shook Koko’s creaking foundations. And a delightful refix of Roberta Flack brought smiles and head nods aplenty. But it’s always best to treat a FlyLo show not as a chance to hear your favourite song live, rather as a performance of cunning ingenuity.

Visually the man is a conductor, musician, and in many respects a comedian, performing with an almost playful and visceral approach to his live work. Sounds and effects appear like it’s a jam session, and it was unclear as to whether the accompanying percussion and keys provided by Richard Spaven and Dorian Concept respectively were entirely incidental, or just an excuse to create whatever rhythms and melodies they wanted to.

Hats off to the fellow, he knows how to put on a show. Even his shadow looked awesome, and who looks at shadows?

Christmas Tree

Red Bull Culture Clash
Roundhouse, London
14.10.10

Camden’s Roundhouse has provided the setting for a good number of great shows since its refurbishment and last week played host for the Red Bull Culture Clash which pitted four teams against each other in a cauldron of beats and drums. Each team had their own stage, formed in a semi-circle around the crowd, with each team getting 15 minutes to showcase their talent at mixing styles, dropping bangers and entertaining the crowd during each of the four rounds with the crowd’s volume deciding the winner of each round.

The teams that lined up were Goldie’s Metalheadz featuring Shy FX, Andy C and GQ amongst others, Channel One’s dub and roots stage, Soul Jazz and Skream & Benga’s dubstep stage with Joker, Nomad and Sgt Pokes. Standing in the middle of the floor with the bass booming around me, it was clear that my hearing was going to take an absolute pounding and an hour in, with plenty more time left to go, I was already worrying about how I was going to hold a conversation the following day.

Many big tracks were dropping across the evening but the highlights came in the mixed styles round, which saw Metalheadz open with a mash-up of Nirvana and Benga & Coki’s anthem Night which brought cheers from some and disdainful glances from others. Skream & Benga had already dropped a dubplate with Snoop bigging them up before playing Rage Against The Machine, Biggie and all sorts of other delights. Whilst Channel One didn’t mix it up as much as they could have, the appearance of a live trombone on stage ramped the volume levels up and showed just how powerful old school dub can be, it was like a Notting Hill Carnival soundsystem had arrived late.

There was a little bit of needle during the evening, with Metalheadz dropping a Katy B dubplate branding Skream and Benga as pussies whose career was going to end soon which prompted Skream to declare that whilst the D&B crew made classics, his stage were making them. Nomad got a lot of stick from the D&B MCs which didn’t seem to bother him, but definitely seemed beyond the jokey-insults going back and forth.

All in all, it was a very fun evening. Channel One took the crown that I thought Skream & Benga’s stage deserved to take but all four stages brought some bangers to the plate. I felt a little sorry for Soul Jazz who played a great hotch-potch of styles during the evening but who didn’t have the crowd on their side unfortunately. However, if this is the sign of things to come from the Red Bull lot, we’re in for many more treats in the coming months.

Abjekt.

Cargo
12.10.10

It seems strange that Maps & Atlases have only just got around to releasing their debut album, taking the slightly unusual route of touring the hell out of two EPs before settling down to make their first full record. Over this time the band have come a very long way, starting as a frantic yet soulful math rock group before developing into a folk tinged indie-pop outfit with a penchant for fiddly guitar parts. Given the buzz surrounding their first EP (which still seems to follow them around, even tonight in certain sections of the crowd),  their rapid progression is perhaps unexpected, but new album Perch Patchwork is no dud.

New album track ‘Pigeon’ kicks things off, with vocalist Dave Davison’s vocals sounding impressive and crisp from the off. What a difference it makes seeing the band in Cargo in front of one of London’s best soundsystems, having watched the life sucked out of their performance in a hollow student union during their last tour of the UK. While the majority of tonight’s set is taken from the new album, it’s refreshing to see a band making full use of their allotted set time – treating the audience to old favorites “Every Place Is a House”, “The Sounds They Make” and “Witch”. The band’s attitude on the whole is noticeably great, taking the time to thank the support bands and audience throughout, seeming genuinely humbled by the reception they recieved.

Topping off their excellent performance, the band drop down from the stage to play three songs acoustically in the centre of the audience. Although it’s difficult to make out the muted instrumentation above a less than fascinating facial hair discussion going on behind me, it’s an intimate and special moment in the evening. It’s a shame to have the shine taken off it by a talkative bunch, but even so, finishing on a personal favorite “The Ongoing Horrible” sends this reviewer home with a near perfect parting gift.

Sleekly Lion