Category: Live Reviews

Engine Room, Brighton
25/11/2009

Okay, so at this point in time I don’t think there are many bands that cannot be risen again, and returned from the dead. I rarely get surprised anymore, but that said, news of a Germs reunion did leave me a quite amazed. In effect, a resurrected Germs minus Darby Crash, was up there with a Rotten-less ‘Pistols, surely?

A friend rang me a couple of nights before this gig to see if I wanted a ride to see Motorhead, The Damned and Girlschool. I declined, explained I was going to The Germs instead. I felt like I was going to the lesser-gig, but thinking about it, the bands I was being offered a lift to currently include collectively 4 and at best 5 original members… and I was actually going to see a group with 3 originals onboard. Ack, so much so consider! I think it’s best the music does the talking…

And so, a tight crowd is gathered in the grubby Engine Room; it’s certainly one of the most eclectic crowds I’ve seen for a while, quite fitting really, because when The Germs first emerged in late Seventies Hollywood, no doubt they would have been playing to similar crowds of disaffected freaks and weirdoes, lumped together under the punk banner. I went to this gig with little preconception about what would happen when the band actually hit the stage… and whether it would be spectacular, or merely a spectacle. I was pleasantly reassured that we were in for some fun when, with guitarist Pat Smear, drummer Don Bolles and singer Shane West all set to go… bassist Lorna Doom could not be located… she finally stumbled on to stage, big grin, plugged in and seconds later they were off.. What We Do is Secret… Media Blitz… Lexicon Devil… ooowwww!!!!

The music was as raw and disjointed as I could have hoped; simplistic, primal… perfect! And whilst the musicians thrashed away, Shane ‘Darby’ West lurched and drooled and shouted and hollered, and crawled on the stage, and fell in to the crowd… and of course we knew exactly where the moves came from (the guy is an actor for fucks sake!!) and I’m sure I wasn’t the only one who had to adjust to what was taking place, get past the obvious points that were so wrong with this, and take it for what it was – a blast.

Not by any means the most essential gig I’ve been to this year, but half way thru their set I thought to myself… I really would not have wanted to miss this.

Pete Craven
Pics by Zac from the London Waterats show

Heaven, London
17th November 2009

Manchester Orchestra are one of those bands you might’ve heard of but haven’t quite got around to checking out yet. Well, check them out quick. Every soul who they’ve played to in their diligent trips to the UK over the past couple of years seems to have been drawn back to the band like a moth to a lightbulb whenever they come back to these shores.The audience at Heaven tonight is rapt and enjoying every second.

The fascinating thing about Manchester Orchestra’s live set is the intense range of dynamics on show. From the softly softly acoustic portions, tackled solo by frontman Andy where you can hear every murmur in the crowd, to the full on intensity and delicious but ear-assaulting jaggedness of their rockier material such as current single ‘Shake It Out’. Keyboardist Chris often takes to his own drumkit (yes, a second in addition to Jeremiah’s regular kit) at poignant louder moments, building the concentration of power in the music to an overwhelming height only to be stripped right back again to its bare bones.

The singles from latest album ‘Mean Everything To Nothing’ are clear standout tracks here with ‘Shake It Out’ and the radio-friendly but emotive ‘I’ve Got Friends’ being surefire crowd pleasers. Having said that, every single track the band bring out is beautifully crafted and executed in the live arena with such aplomb, that you can’t help but be in awe of their talents. They tread the fine line between perfectionism and rocking out without a care in the world so the music sounds free and easy yet tightly observed and flawlessly performed at the same time. The members of Manchester Orchestra are clearly beyond comfortable playing with each other and have developed that sixth sense of understanding what each other is doing that comes when you have played and worked hard in an ensemble for long enough. True brilliance at work.

Winey G

Mexico City Circo Volador,
14/11/09

It’s Saturday night, and the Circo Volador is already comfortably full by the early hour of 8pm. However, there’s a noticeable difference between tonight’s crowd and those of previous shows that we’ve witnessed within these walls; namely, the wider age range. From 10 year old kids in ‘Guitar Hero’ t-shirts to veterans sporting Helloween and Stratovarius patches on their jackets, the cult of Dragonforce seems to have grown no end since the band’s ‘Inhuman Rampage’ album catapulted them to new levels of popularity and acclaim.

In recent times, Dragonforce have often come under fire for allegedly not being able to recreate the fretboard-melting guitar acrobatics of their records in the live setting. And sure, this is occasionally true tonight, but for the majority of their set the London sextet sound as huge and epic as any self-respecting power metal band should. This being their first visit to Mexico, they’re on a mission to make sure that both they and their crowd have as much fun as possible, and the roar that greets the opening ‘Heroes Of Our Time’ certainly bodes well for this.

You see, the Dragonforce live experience is rather like the power metal equivalent of The Benny Hill Show, with bizarre/amusing antics in abundance. Keyboard player Vadim Pruzhanov is dressed like some kind of day-glo Mr Motivator, and when he’s not jumping around behind his instrument, he’s soloing away down the front on a keytar. Meanwhile, guitarists Sam Totman and Herman Li can often be found jogging on the spot as they unleash virtuoso heaven on a crowd for whom the language difference is clearly not a problem, and who greet every solo with an impressive display of air guitar action. Throughout the madness, ZP Theart remains an engaging master of ceremonies, leading the masses through ‘Operation Ground And Pound’ and ‘Valley Of The Damned’ with no little enthusiasm and a powerful voice to boot.

Judging by their latest album ‘Ultra Beatdown’, Dragonforce seem content to stick with what they’re good at, and hence possibly risk falling into a Motorhead-esque trap of effectively rewriting the same record over and over again. But tonight, as the grand finale of ‘Through The Fire And Flames’ threatens to bring the house down, it can’t be denied that these guys are a pleasure – no matter how guilty – to witness live.

Words: Alex Gosman
Photo: Smyrna Ochoa

Fresh Legs, La Shark
Southampton Joiners,
06/11/09

Last night I was invited to a smallish gig in the depths of Southampton. One of those gigs where hundreds of people cram into the back room of a pub with a leaky ceiling, drink beer and talk about the way music used to be.

I wasn’t sure what to expect when Fresh Legs, a local Southampton band, opened the show with a lot of noise. Imagine Paramore’s Hayley Williams with Snow White’s dress sense and you have some idea what the bands lead lady is all about, and my god she was loud. If she had been lower in the mix you could have heard the amazing drummer in this band, the guy was a machine.

The next band, La Shark, we almost indescribable but I’ll give it a go. They are kind of a melodic 5 piece boy band with unexplainable outbursts of French… playing an eclectic mix of 80’s beats and samples, laced with karaoke style rapping. I would be the first to admit that that sounds horrific, but strangely it got people going. Their new song ‘Bones’ is worth a listen, but an acquired taste to say the least.

The appearance of Good Shoes pulls the show back for me. Having been around a while now they’re definitely sounding fine-tuned. They haven’t suffered from second album syndrome, and new singles The Way My Heart Beats, and Under Control have got as much punch as any song from their addictive first album Think Before You Speak. I’m eagerly awaiting the rest of the new album at the beginning of next year; it’s been a long time coming.

Good Shoes are one of those bands who throw out good live music effortlessly. Despite the hype, they were as relaxed as if they were performing in someone’s living room, not a packed out pub of barely legal teens. The crowd weren’t so restrained – one girl showed her dedication by jumping on stage, she was quickly picked up by singer Rhys Jones, and then thrown back into the crowd in front. Not how most bands treat their female fans.

It struck me how much this band are changing and I really hope this is a good move for them. They seem to have attracted attention since they supported Mystery Jets a few years ago, and since then they’ve changed direction. I’ll reserve judgement until I hear the rest of the new stuff, but I hope I won’t be disappointed.

A miss-match of bands, dodgy leaks, crowd surfing in a pub and girls on stage. Well done Southampton, you know how to have a good night. I’ll definitely be back for more when Good Shoes return.

Watch their new video here:

Caitlin Mogridge

The Flaming Lips
The Troxy, London
Tuesday 10th February

The Flaming Lips have always known how to make an entrance. Despite their usual habit of wondering around the stage to test their own gear (the Lips don’t do roadies), when they do finally re-emerge, it’s nothing short of spectacular!

Picture the scene, behind the band is a huge video screen – a naked woman dances around on the film. She stops dancing, lays down on her back, opens her legs. A pulsating light throbs between her thighs and gets larger and brighter and more intense. Then the band emerge one by one from between her legs. It’s the re-birth of The Flaming Lips. An apt start considering the musical tangent their latest album ‘Embryonic’ takes. A new start for the Lips. A much darker, more psychedelic kraut rock influenced sound where much of tonight’s set is drawn from.

As the band kick into ‘Race For The Price’, the opening track from their 1999 breakthrough album ‘Soft Bulletin’, they unleash their now traditional barrage of balloons, streamers, confetti and smoke and the venue quickly resembles the greatest party you’ve ever been too. It’s not long before frontman Wayne Coyne is rolling across the crowd in his huge see-through balloon.

Those who thought they may have seen the last of Wayne’s journeys across the crowd in a big hamster ball can think again! Coyne obviously has far too much fun doing it to stop. In fact, throughout tonight’s set, you begin to realise that a man in his mid-40s should really not be having this much of a good time. Wayne Coyne has the most fun in the world, ever. It’s official.

In many ways, the darker nature of much of the new material is at odds with the uplifting party atmosphere of the stage show and props. Tracks like ‘Convinced Of The Hex’, ‘Silver Trembling Hands’ and ‘Evil’ throb and pulsate with a twisted menace that conflicts with the people dressed as fluffy lambs on either side of the stage! Crossfire buddy Martyn Thomas (and the person responsible for the onstage photos you see with this review) managed to be one of the lambs to Flaming Lips slaughter. “I have wanted to see them live for nine years and have never had the chance so this was my first Flaming Lips gig and I was in at the deep end,” says Martyn. “I felt like a virgin walking into an orgy and being told ‘this is your introduction to sex’! Front of stage, dressed as a Yeti, for one of my all time favorite bands! I danced my fucking ass off!.”

Yes. Martyn’s a lucky bastard and got the best ticket in the house. And when the band finish the set with the glorious ‘Do You Realize’ you can’t help but feel that, even after all of these years, The Flaming Lips are still one of the most creative and inspiring bands out there. That Martyn really is a lucky bastard.

James Sherry

Queen of Hoxton
29.10.09

Perhaps the biggest surprise package of 2009, Mayer Hawthorne rolled into London to play a packed out show in the oven-like environment at the Queen of Hoxton but most certainly proved himself to be as cool as a cucumber on stage.

The man formerly known as Haircut was introduced along with his band The County, all of whom were looking very dapper in their suits, and took to the stage with a smile. From that point on it was clear that the only thing happening that night was fun!

His album, A Strange Arrangement, has the perfect balance of slow numbers and danceable Motown styled hits and Mayer was able to translate that extremely well on stage. His banter with the crowd, especially before the ballads, was brilliant so that even when the track itself didn’t get the spectators moving, smiles were firmly plastered on faces.

Running through tracks like Maybe So, Maybe No, Just Ain’t Gonna Work Out, One Track Mind and l Wish It Would Rain (complete with raindrop fingers!), the set flew by but left everyone in the building delighted they’d attended.

He saved the best track til last too, with the up-tempo The Ills, his self-confessed favourite track, finishing the night on the highest of highs with the majority of the crowd dancing as much as their confined space would let them.

He might not look like one, but Mayer Hawthorne is a star and he can only shine brighter in 2010.

Abjekt.

The Roundhouse, London
25.10.09

It feels strange being at a venue with such an arty feel as hordes of kids circle the outside in anticipation of the brutal onslaught of music that’s about to rain down on Chalk Farm. Security, understandably, look a little fraught. Main support act A Day To Remember behave and are received like they could well be the main event in tonight’s proceedings.

Blasting out their emphatic amalgamation of pop-punk and hardcore, it’s quite easy to see why their record label have pushed the band as ‘pop-mosh’. There is an almighty frenzy in the main space downstairs with copious amounts of circle pits, fists pumping and heartfelt singing and chanting along to the band’s carefully considered catchiness. They put everything into the performance and certainly deliver to a crowd who are rapt on their every move and put as much energy into appreciating the band as the band put into their music making. It feels almost like a joint effort between band and audience and the night is off to a kicking start.

Not to be intimidated or outdone by their stellar support act, Bring Me The Horizon pull out all the stops tonight. Since releasing their ‘Suicide Season’ album last year, this is a band who have toured tirelessly and proved themselves to be every bit worthy of the massive following their music has generated across the world. The stage is set with lit-up letters ‘BMTH’ flashing to the rear and the band’s performance begins with the drums emerging from underneath the stage, hyping the crowd up as if they hadn’t already been going crazy to the band that was on before. Frontman Oli Sykes comes out dressed plainly (in stark contrast to many of the dayglo’d children in the crowd) and launches into ‘Chelsea Smile’ with everyone in attendance shouting out the words almost as loud as the sound system.

The energy in the room is immense and towards the end of the track, Oli launches himself into the crowd. Yep, during the very first song. The drums are on a significantly large riser with ramps going up either side so the rest of the band hurtle around the stage on both levels, meaning you don’t really know where to look, there’s so much going on. Most people present don’t look, they get involved, opening up pits and launching into each other, perpetually crowdsurfing, windmilling and the like. The onslaught doesn’t let up throughout the band’s set and it’s one of those shows that seems so much shorter than it is, just because it’s that entertaining.

Sam Carter from Architects makes a guest appearance for ‘The Sadness Will Never End’ adding yet another facet to the turbulent stage show and getting the crowd even more hyped. Continuing the theme of involving the crowd, Sykes invites everyone to join them up on stage. Kind of a recipe for disaster and things do spiral a little out of control when he’s engulfed by eager fans who manage to make it past the bewildered security. But the night is definitely ended on a high. Actually, it was just a whole series of highs fuelled by the band’s eager and committed performance that has no doubt been honed over their months of touring the world. The hard work pays off. this night was a sight and experience to behold.

Winegums.

Newcastle University – Newcastle-upon-Tyne
17th October 2009

As we start to say goodbye to summer and pave the way for autumn, I can think of no better way to welcome these cold, dark months than an audience with Britain’s cheeriest musician. Frank Turner has been slaving away at the musical grindstone for years, whether it was with Million Dead or on his own with an acoustic guitar, but as this University basement starts to fill up, I think all that work may have finally paid off.

The night kicks off with one man act Beans on Toast a down to earth British bloke, singing songs about all things relatable like being pissed off at shops putting Christmas decorations up too early. Even though he ended his set with some accordion based raps, provided some good laughs and sing-along’s from the crowd, old Beans didn’t really do much more than that for me.

It wasn’t until Fake Problems took the stage that things really started to get better, this band are pretty far from their home in Florida and they aren’t too well known over here, but after tonight I think they may have left an impression. As a band Fake Problems seem to know where they stand, sound wise they are well rehearsed and never made any mistakes, musically they have a definitive sound, which makes them really easy to get into and you don’t get lost off in sets. They are pretty uplifting to watch, especially their latest single “The Dream Team” which really makes heir set for me. Hopefully next time they visit people might be able to sing along to their memorable songs!

Finally the man himself takes the stage to the introduction of traditional English music, as he goes through the set the crowd loves him and he loves the crowd. Frank is a pretty traditional man, his music has a certain feel to it that almost makes you feel patriotic, and he speaks a certain honesty that everyone can relate to, almost like an English Conor Oberst. This room is pretty packed and I’m really glad that Frank is finally selling out venues; I think people forget how much of a vital cog he is to British music. Million Dead were one of a kind, the DIY ethics in his acoustic work and his constant touring and integrity really fly the flag for how a band should be.

One thing that really strikes me about Frank is how easily he makes the transition from him and his guitar to having a full band playing electric songs, something that not many musicians seem to master. He even pulls up a girl from the crowd to join the band by playing a harmonica solo, pretty cool if you ask me. The highlights of my night were his acoustic guitar solo (something he only did to express his rage at English politicians) and his cover of Million Dead’s “Smiling at Strangers on Trains,” which I’ve been dying to see him do every time he plays. I think most people have seen Frank Turner before, either at festivals or supporting a band who should be supporting him, and I think every time I see him he gets better and better, so after tonight I can’t wait to see him again!

Jonathan Teggert

Cowley Club, Brighton
26.09/.09

This gig is early doors as there’s a club night afterwards, and when I rock-up at 7.30PM the Cowley is already rammed, and the first band The Human Race are playing. I can’t see them, but I can hear them. And their fuzzed chaotic sounds are pretty good, echoes of The Birthday Party and Scientists.

When they finish I grab a bottle of Westons and squeeze down the front, and next up are London trio Male Bonding. Great name, even more so if they played testosterone-fuelled macho Hardcore. In fact, these hipsters bash out fast paced quirky tunes that are for the most-part quite simplistic, but clear effort has gone to give each number a distinct buzz of its own. Really catchy melodic music, and nothing not to like about them. I asked my mate Mike what he thought… “were they Punk, New Wave, Pop”? he pondered! He settled on Pop, good Pop. And we then started talking about the merits of The Descendents… before…

Lovvers. There is a sardine-tight jam eagerly awaiting this quartet from the smoke. I’ve not seen them before so am definitely all-ears. They start in solid fashion, with ringing loud guitar and sloppy punk’n’roll hooks… definite echoes of The Wipers and Real Kids that my mate Mike has claimed they allegedly sound like, minutes before they start. These are bands whose music is hardwired in to my central musical system, I should be digging this. There is no stage, the band is in our faces and the singer is right in the throng, initially resplendent in snappy green shades.

Unfortunately, it’s his vocals that, as the short set proceeds, are the weak link for me. Not enough power and too hidden in the mix. Maybe it sounded better at the back? That said, what was lacking in the vocal dept. was easily compensated by the excellent guitarist whose Greg Sage styled riffage was top notch and held it all together. After maybe 20 minutes only though, it all came to an abrupt end to make way for the diskofunkelectrokitschpunk… !!!

I need to see Lovvers again… they were fun and energetic, but I wasn’t getting the killer instant impact of say The Shitty Limits, UV Race or Eddy Current Suppression Ring. But I’ll be back… for more.

Pete Craven

Motion Skatepark, Bristol
09.10.09

The primary hype surrounding Groove Armada’s latest album, Black Light, is the promise of the darkest reinvention of sound yet from these already interstellar producers. And immediately after entering their ill lit arena, surrounded by the ominous towering ramps that make up Motion’s BMX area (and never ceasing to be amused at the intoxicated cougars trying to climb up them), the persistent juxtaposition of dark and light was impossible to ignore.

This is a group that produced At The River remember, that song that winds up on every chill out album that’s ever released ever ever, the same song that post-modern pornographers Marks And Spencer use to sleaze up their strawberry cheesecake. As lovely as it is, and as delicious as that cheesecake probably is baby, it’s the furthest thing imaginable from ‘dark’. So as the small, but significant lights dance around, like ghosts looking for pac-man in a cool new game with transitions, the crowd seemed ready for the sound to follow suit.

For the most part, I wasn’t at all disappointed, and the crowd as a collective mass of grooving bodies, awkward cougars and all shook the fuck out of Bristol clearly wasn’t unimpressed either. The new songs, many of which fronted by Saint Saviour sounded close to glorious and nothing like whatever preconception you may have had of Groove Armada. Imagine the combination of heaven and hell that Royksopp explored earlier this year with Robyn, except there is a still a faint but oh so randy smell of funk that only the founders of Lovebox could exude. Of course, old funky classics like Chicago sounded as timeless as ever, even in this new, errm, non-light.

What bothered me, only ever so slightly, was the sound quality. Tom and Andy’s work has always been something so sonically rich that it needs to be heard through perfect audio devices otherwise a lot of seriously dynamic shit is lost. So for a few songs I had no idea what was going on and that most definitely isn’t the e-talking. A shame, but from what I did hear, it only strengthened my desire to hear more of the new, darker, deeper, take your hand and smile as we go through rabbit holes of funk and beats sound that Groove Armada have kept us waiting for.

Head over to their website for a taste of this new sound, Warsaw is available to download for free

Stanley.