Category: Live Reviews

Relentless Garage, London
14.06.10

Butch Walker is a bit of a cult enigma over here. The American producer/songwriter is in the UK with his band of similarly talented musicians to support P!nk and play a few dates of his own. With five studio albums under his belt (not all of which have actually been released in the UK), Butch Walker is certainly a well-established act in his own right, yet he is perhaps known better for the work he’s done with others including songwriting credits for Avril Lavigne, Hot Hot Heat, Weezer, Fall Out Boy and All American Rejects. He’s also produced records by P!nk, Plasticines, The Academy Is, All Time Low and Katy Perry to name but a few!

But that’s not what it’s about tonight. His body of work proves that Walker has a way with melody and he opens this show up with the simplest of formats, taking to the stage and settling down at a keyboard. Despite his expertise, the first song falters as it seems that it’s totally escaped his memory. This can certainly be forgiven though, as the man goes on to play for almost two hours straight. That’s a lot to remember! Moving on from his fuck-up, Walker jokes with the crowd and proceeds to roll out some simply beautiful songs solo.

Walker’s band The Black Widows make their entrance after the intro which sees Walker bond strongly with the audience who hang on his every word and lyric (there are some HARDCORE fans out there). Each and every member of the band makes a flawless contribution to the musical arrangements and the material from latest album ‘I Liked It Better When You Had No Heart’ in particular comes across with a perfect bittersweet feel. Walker may be centre stage but the way the musicians interact on stage makes this more than solely a ‘Butch Walker show’.

‘Best Thing You Never Had’ is the perfect demonstration of this as each and every member of the band sings their own part of the lead vocal with equal finesse. It’s a varied and engaging set with a comforting balance of joking around and sheer brilliance. A snippet of Pulp’s ‘Common People’ comes out at one point with a rather overly pronounced English accent over the top and there’s also some sort of Christmas song interlude as Walker goes with the flow and picks up on nuances in the crowd’s reactions and in what sound the band are creating. Despite a largely melancholic feel in the music, Butch certainly knows how to rock out and even with an acoustic guitar in hand, he’s jumping on the drumkit and dropping to his knees. There’s a lot of talent on stage and the audience is in awe of it.

Winegums.

Canterbury Park
Shakopee, Minnesota
30.05.10

There isn’t a great deal that Rhymesayers don’t do well. Not only do they have the best hip hop label in the world [don’t argue, it’s true], they continue to excel in putting on amazing festivals with this year’s Soundset, the third of its kind, topping last year’s great day out. Helped by the overcast weather [last year’s event was unbearably hot] and the larger space which included two stages, a custom car exhibition, b-boy tent, graffiti wall, a skate ramp and fan’s VIP section, the day was set out perfectly for the untouchable line-up of hip hop.

Kicking it off, after having checked out the beginnings of the pieces by the likes of Ewok and hearing Heiroglyphics’ Domino drop some huge beats over in the b-boy tent, as well as saying hi to Minneapolis’ Familia Skateboards crew, we sidled over to the main stage where, unfortunately, we caught the tail end of Cage‘s set. Not being his biggest fan at the best of times, it was pretty hard to stand his whining so shelter away from earshot was sought. However, once he was off, the fun really kicked in with Wiz Khalifa bounding onto the stage and dropping his massive hits from the Kush & Orange Juice mixtape including the fan favourite In The Cut. So his set was exclusively tracks about smoking weed. So what? He was having a lot of fun, the crowd was having a lot of fun, and the 80s party vibes definitely got various parties started.

Moving over to the smaller Fifth Element stage, our good mates from Doomtree Cecil Otter and Paper Tiger were on the stage and drew a large crowd despite having to go up against the former ROC family member Freeway. Cecil mixed in both old and new tracks, all of which were sung back loudly by his hometown crowd and his usual off-kilter banter was definitely in full effect. Following that, main stage sets from Eyedea & Abilities and Murs carried on proceedings [whilst, admittedly, t-shirts were being bought and high fives with Minneapolis mates were being slapped] before we caught the start of P.O.S.’ set.

Backed by members of his hardcore band Building Better Bombs the cacophony of drums and guitars blasted out tracks from his latest album, 2009’s Never Better and immediately hands were thrust skyward, pounding the air. If it wasn’t already obvious how much of a hero Stef Alexander is to the locals, this was the perfect show of it. Despite wanting to see all of the set, Fashawn was up on the Fifth Element stage and so a little trip was taken over to see him drop tracks from his Boy Meets World album.

Then came one of the two highlights of the festival for me – Alabama’s Yelawolf. Having been a fan of him before the festival, it was always going to be interesting to see how he brought it live and he didn’t disappoint. Equal parts angry and hyped, he bounded out and got everyone in the crowd hollering with him rapping about cars, drinking and throwing dead bodies in a trunk [yep, awesome] and was loved by most people I spoke to after the festival.

After a quick viewing of Toki Wright’s set, including his brilliant rendition of Booka B’s Sun Is Shining remix, it was over to the bleachers for the remainder of the day, starting with the tail end of Hieroglyphics who ended their set with Del’s verse from Gorillaz’s Clint Eastwood. Following that was Brother Ali who, as he always does, brought the feelgood vibes, even going in over a Lauryn Hill instrumental, much to the delight of everyone in attendance. As hard an act as Ali is to follow, Method Man and Redman were the men to do it, jumping around on stage, dropping classics from Wu Tang albums and even stage diving the barrier between stage and fans, to huge cheers. With Dessa getting a sizable crowd on the Fifth Element stage, including all of the Doomtree MCs getting on stage to rock one track, the stage was set for the headline act.

The only act on the bill that could have followed Red and Meth was Atmosphere. As a fanboy of over ten years, it’s still exciting to see them perform and with the sun setting and a rainbow forming [am I not supposed to notice that because I’m male? What?!] they ran through classics through tracks from their When Life Gives You Lemons, You Paint That Shit Gold record and interspersed brand new tracks into the set with Slug saying “well, if you like the old stuff, maybe we could play you some brand new stuff?” to the waves of applause. As obvious as it may be, they were the highlight of the festival and if the new material is anything to go by, they’re going to be dropping some awesome new records soon.

Abjekt.

Mention must be made of the following for the photos below: The peanut butter and jelly bagel is now officially the Soundset tradition car-ride food; Familia Skateboards have baller graphics; hip hop makes Alice be a ballerina; the weirdo in the purple looked like Ribena berry gone wrong; the woman with the bum shouldn’t be wearing that and all the rappers and DJs below are awesome, from top to bottom: Cecil Otter, Dessa, Fashawn, P.O.S., Redman and Method Man, Toki Wright, Yelawolf and Paper Tiger [with some plum next to him in a cap].

CCM John Lennon centre,
Limoges, France,
23rd-24th April

Approaching what looked like a youth centre, plastered in graffiti, we weren’t sure what to expect from The 6th Lemovice Antifa (antifascism) Festival, but it turned out to be a great high tech, medium-sized gig venue. The festival went off with a bang on Friday, with Limoges’ own Sideburns Sweat playing their punk-hardcore, though the audience took a little bit longer than the band to warm up. Next up, Taste in Vibes’ straight-up ska and The Scoundrel‘s RATM-influenced metal/hip hop got the crowd going.

Rounding off Friday night were the UK Subs. Oldest band members Charlie Harper and Paul Slack kept the flame of punk burning, along with youngest member Jamie Oliver (not the chef!) on drums.

It was hard to put your finger on it, but Saturday had a slightly edgier vibe. Another Limoges-based band The Nutties kicked off with ska which set the mood for the rest of the night. Banned From the Pub and Skuds & Panic People followed with more street-punk and ska, setting off a proper pogo pit. The reformed 8°6 Crew were back with their skinhead reggae, with some songs from a decade ago that still hit the spot. Finally the highlight of the festival, for most of the crowd it seemed, came when veteran UK band The Oppressed hit the stage. They played a tight set and were totally on the ball. The Oppressed were one of the first European bands to highlight anti-racism in the skinhead scene and it’s obviously an issue that is still close to the heart of many.

This year’s festival was dedicated, by organisers Solitude Urbain, to people who put their lives at risk for antifascism in Russia. During The Oppressed’s set, a scuffle broke out that moved outside, with crowds following to watch. While the antifascist movement has its heart in the right place, it’s a shame there still seems to be some division… While it wasn’t peace and love for everyone, some of the same punks who were bashing each other around the pogo pit could be seen again later politely kissing each other goodbye on the cheeks (as per the usual French custom) – which is a sight you would never see in the UK.

All in all, from what we saw, the French have enough punk attitude to rival anyone from the UK – and that includes the fans. Oi Oi !!!

Anita Chaplin
Thanks to MumuDIY for the 2 live images above.

Hertfordshire University
29th May, 2010

From its beginnings as a clubnight in Leeds, Slam Dunk as a brand has come quite some way. Always championing the latest pop-punk bands, and pulling in some big names from that world to boot, the festival has been attracting fans of the genre from all over the country for a good few years now. 2010 is the first year to see a southern version of the festival in Hertfordshire, at a university venue fairly similar to the venue that’s been its home for several years in Leeds. Whenever you try new things, there are bound to be some teething problems and this was certainly the case for Slam Dunk South but I shan’t dwell on the negatives as I’m sure the organizers will be plotting to totally overcome these next year.

First on our must-see list were Moneen, who are a sorely under-rated band but actually managed to pull a very respectable crowd of discerning music lovers despite being on so early and playing one of the outdoor stages whilst it was raining. As always, the band give it everything they’ve got and make their way through a number of brilliant tunes from their arsenal of material including the truly excellent ‘Are We Really Happy…’ After this we seek refuge from the rain in the biggest of the rooms at the festival (the Glamour Kills stage) to see some of Every Avenue’s set. Reeling off their own brand of perfectly polished pop-rock, the band have the quite sizeable crowd amassed to see them wrapped around their little fingers and everyone present is thoroughly enjoying what they’re hearing.

The Wonder Years’ set in a rather smaller room next door is almost impossible to experience properly due to the overflowing crowd that’s crammed into the space. There are quite a few people huddling round the entrance to the room who’re unable to really get close but stand and listen nonetheless. The band make the most of the situation with a frenetic and emphatic set that packs plenty of punches when it comes to melody. These guys are ones to watch this year, having just signed to Hopeless Records.

Set Your Goals keep the enthusiastic momentum going with an effervescent performance on the GK stage whilst Crime In Stereo suffer from a slightly smaller crowd on the Relentless stage but actually manage to deliver one of the most stunning sets of the day despite this. Four Year Strong’s turn on the main stage is triumphant, and quite rightly so as everyone seems to be hailing them the ‘saviours of pop-punk’ right now. They’re certainly throwing themselves into the idea of potentially filling that role. However, New Found Glory are the main event and really the kings of early 21st century pop-punk who are not yet ready to be de-throned! There’s no disputing their ability to captivate a crowd with the most perfectly chosen setlist which is always filled with sure-fire hits. There is not one lull as the band barrel through oldies such as ‘Hit or Miss’ alongside stellar new material like ‘Not Without A Fight’ and the hits do not let up all the way through to the ultimate set-closer ‘My Friends Over You’. You can’t really fault them. The only thing is they almost have TOO many good songs these days.

Despite its troubles, Slam Dunk South will undoubtedly be seen as a success by the many attendees who managed to get around the organizational difficulties. Here’s hoping they can make it even better next year!

Winegums

Wembley Arena
28th May 2010

There are moments in time, when everything just seems to work. For the boys from Perth, tonight just, well – worked. So well in fact, that I won’t hesitate to say that Pendulum’s ‘Immersion’ show at Wembley arena, was the best musical experience I have ever had the pleasure of witnessing. And that’s saying something.

Ram Records’ Sub Focus supported, warming up the crowd an absolute treat. Guildford’s Nick Douwma stood behind an immense disc of LED’s, which proved to be an immensely well-fitting accompaniment to the music and kicked off a sterling set with crowd favourite Rock It. He spanned through multiple songs quickly and effortlessly, including his Ghosts’N’Stuff remix, the new single Splash and many other classics backed up with the steez of MC ID who delivered the goods which in turn, whipped the baying crowd into a frenzy.

After a short break, the moment had come. Three years of hard work from Pendulum, and it was about to culminate in the form of the headline spot at Wembley arena. Genesis began the proceedings, to a dark, empty stage. As the boys walked on, they launched into Salt In The Wounds with more energy than your average jet engine. Bearing in mind that this tour is a showcase of the new material from ‘Immersion’, and that it’s only been performed live a few times before now- it has to be said that these guys are definitely at the top of their game right now. They’re tight, efficient and oh-so-slick. There happened to be a slight malfunction with Perry’s guitar during Midnight Runner, but without so much as a hint of a pause the rest of the band compensated for this, and kept things flowing smoothly.

Visually, the show is a two-hour eyegasm with smoke cannons, spark cannons and flamethrowers serving as a perfect accompaniment to a series of back-to-back ‘L’ shaped screens, displaying CG visuals and live-action footage. It also has to be said that Ben Verse is one of the foundations that holds this type of live show together. His constant, enthusiastic interaction with the crowd draws you in. It makes you feel comfortable, and adds an element of trust – so much so, that upon his request, the entire standing audience of around 6000 people sat on the floor during Blood Sugar’s build-up, with them all jumping to their feet at the drop.

Pendulum powered through the classics and the new, and integrated them seamlessly. ‘Witchcraft’ was a crowd favourite, with the entire crowd singing along before old favourites such as ‘Hold your Colour’, ‘Tarantula’, and ‘The Tempest’ were delivered for the old school at curtains. It could be said that perhaps they should have varied the setlist slightly and included some newer songs at the end of the gig, however, having seen this trio of songs performed live before, it begs the old phrase – ‘If it ain’t broke, don’t fix it.’

Pendulum have created a unique live experience, one that includes every aspect of the sounds they create, and it says a lot that they are able to perform this material live, and to such an epically high standard. I think the other ten thousand people who shared that arena last night would agree with me when I say – the live Pendulum experience is a complete sensory assault, with rather pleasant side effects, that may include an uncontrollable urge to move, sing, mosh, then jabber about it to everyone you’ve ever met.

Words and pics: S.MAY

Cargo, London
18th May 2010

Triple bills as buzzy as this don’t come around too often, as tonight Cargo plays host to three American bands tipped for big things. Expectations are high, then, and first act Double Dagger waste no time in getting in amongst the sold out crowd. In fact, frontman Nolen Strals spends little time on the actual stage, as he clambers around the audience ensnaring them in a tangle of mic cables and punk rock. Arguably this is all a bit much for the early birds, but those that’d come specifically to see Double Dagger are treated to a raucous and absorbing set. Ones to watch in the future, most definitely.

With the audience now undoubtedly woken up, it comes the turn of Ganglians to justify their hype. The recently released Monster Head Room is a perfect summer cocktail of acid pop and Beach Boys harmonies, yet what we hear tonight is something a little different. The band largely ignores material from MHR, released last year in the states, and instead plays a varied and unfamiliar set. This seems to have a split effect on the crowd, some disappointed at the lack of familiarity and others excited to preview some new tracks. Still, there’s no doubt that the biggest reaction comes for set closer Candy Girl, a recent single that loses none of its blissful sheen in a live setting. It’s a performance that shows flashes of brilliance, yet I feel if they can pull themselves together then there is plenty more to come.

Rounding off proceedings are darlings of the indie press, Real Estate, who I have mixed feelings about before the show. On the one hand their recent self titled album is perfectly likeable, yet at the same time it seems to offer little more than that. While hearing the songs performed live fails to dramatically change my opinion, it’s a far more enjoyable performance than I had anticipated. Album highlights Fake Blues and Suburban Dogs are obvious high points, and the band come across well on stage which compliments a pleasing set all round. Still don’t get the hype, though.

Sleekly Lion

The Gaff
London
12.05.10

London’s rock venues in the lead up to the Great Escape Festival are packed with underground bands this week and The Gaff in Holloway Rd in North London played host to 2 of the loudest and most talked about upcoming artists bubbling away under the radar.

Tonight the venue may only have 80 people stood inside but those who have made the effort must have felt lucky when Chickenhawk came on stage to spread their evil dose of hardcore and metal.

The Leeds 4-piece have been living off the road for most of the year so far, clocking up the miles for the cause and generally getting amongst it. Tonight singer/guitarist Paul Astick leads the assault but by his own standards admits that he’s knackered and although their set is rampant from the off with team Hawk tighter than ever, even he concedes that the road is starting to rule them. No one cared though and as the set rolled out the beastly riffs of the mighty Kerosene and the stomping crunch of Scorpio, Astick found friends in the pit after slamming his mic stand down in the middle of it like he had landed on the moon and then slumped into the carpet like a lesbian on MDMA.

This evening’s show is all about the drummers as both bands have proper tech thumpers on board- Matthew Reid’s monstrous battery got Chickenhawk to the end of a cracking 30 minute set that finished on the catchy I hate this, do you like it..single… a track that has over 40,000 youtube views so far. Miss this lot at your peril. Once again, Chickenhawk proved even with a half empty tank they can still whip your butt in the live stakes. Look out for them on your travels as they will be pumping this shit out for miles yet ahead of their release planned for August this year.

It doesn’t take long for Tweak Bird to set up shop and fire out their blend of melodic vocals and heavy, sludge rock riffs for they are just a 2 piece with drums, guitar and one of those amazing theramins. Those in the know would remember their last visit to London where the brothers Bird blew a hole in the new Volcom store in Covent Garden when it opened last year. Since then they have moved over to Berlin based label Souterrain Transmissions ahead of their self titled LP release which on first listen should be one of the finest releases since Death From Above 1979’s debut. Its production is as heavy as Sabbath thanks the assistance of Melvins’ Dale Crover and Big Business’ Toshi Kasai pulling the strings on the sound in the studio and the result hucks in at only 25 mins in length but is a record you will no doubt have on repeat as a result when it drops this August.

2 of rock’s best drummers rip it up!

Tonight Tweak Bird kick off their set with new 7″ single ‘A Sun/Ahh Ahh’, a stoner rock classic that slowly builds allowing drummer/vocalist Ashton Bird to get his forearms pumped up for a drum thumping assault of the highest proportions throughout new tracks such as The Future and the wonderful vibes of Lights In Lines. His Brother Caleb has a baritone guitar so that he can tune to a lower range and delivers that drone of doom you crave to hear from a rock band at all times. His ability to actually see what he is doing through a mass of dark, greasy hair though is a feat on its own- yet he also manages to pull off in-tune twangs from a theramin that sits on his amp head which sounds fucking awesome! Shame that Caleb was not born with 3 arms because if he could blow down a saxophone at the same time this show tonight would have been complete sound wise, let’s hope they manage to find guests to join them on the road to add this to their set or at least bring a backing tape for the future as it’s the last piece of the live jigsaw missing for the Illinois duo’s perfect set which received thumbs up from a baying crowd.

If you dig the sound of Morphine and Kyuss then this is for you as the Brothers Bird have something unique to bring to the rock table this year and will be visiting these shores enough to reel you in. Look out for them with Pulled Apart By Horses at the Stag and Dagger festival in London on 21 May, it will be well worth it on this evidence.

Word and photos: Seb Adoh

The Social
London
12th May 2010

It must be daunting for Canada’s Mother Mother tonight. Not only they have taken the big bird against all odds to beat volcanic explosions to be here at The Social, they face the task of starting all over again. You see, this band who are signed to Last Gang Records, (home to the likes of MSTRKRFT, Crystal Castles and Death From Above 1979) are used to playing in front of well over 1500 people per show in Vancouver and to more than 500 per night in NYC so coming to London to play in front of 200 must have been a come down. But on this evidence tonight, it’s far from a comedown, it seemed like a pleasure to the 5 piece whose vocal harmonies can match the best bands on the planet, as Mother Mother live compared to on record is another entity.

If you have never heard this band before then picture the scene. They play extremely catchy indie pop that is not only quirky but also packs a punch with killer, memorable songs that could be played on any radio station worldwide all day long. They kick this show off with their latest self-titled album track O My Heart, a killer number which fills the dancefloor within seconds. Imagine the Pixies at their very best and you could be close to where this epic track is coming from. Singer/guitarist Ryan Guldemond is aware just how big these songs are as he welcomes the crowd to their first UK show ever by saying that his Mum reckons they ‘will be big in the UK….within 5 years’ – his modesty will get him everywhere on the strength of the first 3 numbers that also include the title track from their first album Touch Up.

This offered a glimpse of just how crazy their time changes were when they started out compared to their second album that certainly did not suffer from the usual syndrome most bands have to endure. For tracks as Arms Tonight and the monstrous Body Of Years (one of tonights highlights) come packed with high energy before they end on the fan-craving Hayloft, which rocked the roof off the place by a room packed to the gills.

Question is, where did these fans come from for a debut show? Are these all Canadians or has the Hayloft single travelled far and wide over the last month or so. The band seem stoked regardless and even more stoked that Hayloft was released here as after the show. Ryan mentioned in passing that they always wanted to release it properly when the album dropped a year ago back home and it certainly ended their set on a major high and the crowd dispersed leaving US indie stalwarts Wax Fang with a desert instead of a sea of people.

I felt for the Kentucky visitors as their set was insanely good. Never heard of them before? Me neither but they brought a drummer with them who is probably the best you will ever see and a sound that makes REM and David Bowie merge with Interpol and Grandaddy- the entire set left us feeling high and convinced us that buying a CD was a good move, look out for them at ATP. Both bands smashed it here tonight and roll on towards the UK festival scenes from tonight.

Once again, this proves that deep in the underground people are travelling to our shores that deserve your attention, now go google this shit and discover some magic, you will not be disappointed.

Seb Adoh

Hammersmith Apollo
03.05.10

When original Stooges guitarist Ron Asheton died back in January of 2009, it was a tragic cruel blow to a band that were finally getting the respect they deserved. When The Stooges originally unleashed their primal rock in the early seventies and single-handily invented punk rock, no one really gave a shit. It wasn’t until years later that their legacy and cult grew and grew.

So, when the band originally reunited with Iggy in 2003, they were finally able to financially benefit from their cult status, toured the world and even recorded an (admittedly pretty duff) new album with Steve Albini. When Ron died, everyone presumed the band was done but Iggy, Ron’s brother Scott and the mighty Mike Watt were not ready to lay down and die yet. Step in James Williamson, supreme guitarist from phase two of The Stooges when it became Iggy & The Stooges and they recorded the totally screwed up, weird sounding, David Bowie produced ‘Raw Power’ album and paved the way for the Pistols ‘et all.

Tonight, as part of ATP’s brilliant ‘Don’t Look Back’ series, they play the ‘Raw Power’ album from beginning to end and then bolster the set with a couple of first two album cuts (‘I Wanna Be Your Dog’ and ‘1970’) and other songs recorded in the Raw Power era, but only released a million times over on subsequent bootlegs and indie releases (‘Open Up And Bleed’, ‘I Got A Right’).

Right from the get go, the band sound incredible – kicking into ‘Search And Destroy’ (best opening line to a song ever…) with Scott leaning back on the drums slamming the skins, Mike Watt hunched over pummelling his bass, Williamson standing there like he’s been working high up in a corporation for all of these years (Sony…) but free from the shackles and ripping out killer lead licks. And then there’s Iggy. This man is not of this earth. Way gone sixty, his skin is leather, his body is twisted and wild, his bum is saggy (urg), he has more energy than a room full of 14 year old Green Day fans spiked with Relentless. And he is the greatest live rock n roll performer of all time, bar none. His voice is in amazing form and physique even better (bar the bum). The Stooges, despite their collective age, are the finest rock n roll band ever. Back then and right now.

Potential gig of the year…

James Sherry

You Tube links from gig:

Kill City

Open Up And Bleed

I Got A Right

Search & Destroy

Roundhouse, London
29.04.10

When Gorillaz announce a show at the Roundhouse, you know that you’re going to get a show. How could something so innovative and downright brilliant not be great? However, after their hologram shows a few years ago, it was going to take something special to stand up to their high standards – a test they passed with flying colours.

Joined on stage by two drummers, a string section, two guitarists, a bass player, a programmer, a keyboard player and four backing singers, Damon Albarn alternated between front man on tracks such as Last Living Souls and Melancholy Hill and playing the piano at the back of the stage, allowing the guests to take centre stage and provide the audience with cameo after cameo.

And what an array of guests it was! Not content with having two members of The Clash in his band, Damon’s swinging doors welcomed Bobby Womack and Mos Def, Kano and Bashy, Little Dragon’s Yukimi Nagano and Shaun Ryder to roll through their hits. But this wasn’t all, seeing De La Soul bounce from the side of the stage for Super Fast Jellyfish and the incredible Feel Good Inc [yep, Maseo did the laugh live] and then Bootie Brown getting the crowd waving and clapping for Dirty Harry was next level.

Even when the guests couldn’t make it, their presence was felt, with the show being kicked off by a 20 foot Snoop Dogg in full Captain’s outfit dancing around with a telescope – you couldn’t make it up.

Even when there were no guests, Jamie Hewlett’s amazing artwork made it a visual spectacle and, in fact, did so throughout the show. Having a cartoon child choir singing along [and picking noses, throwing paper planes and having a fight] with Brown couldn’t have made my grin any wider, it was perfect.

Damon Albarn proved his genius in the space of two hours here. From beautiful softly-sung ballads to straight up party tunes, he’s covered it all with Gorillaz. So we didn’t have holograms? But who cares, we got one of the best shows around.

Abjekt.