Category: Live Reviews

London Borderline
18.02.07

“You all having a good time?” asks Joseph McAdam, singer/guitarist of The New York Fund “Having a good time in a quiet way!” Indeed, this is a sleepy Sunday night crowd, but TNYF’s rollicking country-folk tunes deservedly get more than a few feet tapping among those present.

The Borderline is arguably the perfect venue for theirs and The Hold Steady’s Americana-influenced sounds; its worn wooden furnishings and Wild West décor giving the impression of a bar that could have been lifted straight out of Nashville and plonked in the middle of Soho.

‘Reassuring’ may not be the highest of compliments you can pay The Hold Steady, but given the tendency of their recent ‘Boys And Girls In America’ album to practically glue itself to your stereo, it’s hard not to smile as the familiar chorus of the opening ‘Stuck Between Stations’ rings out across the venue.

In fact, The Hold Steady use this sense of familiarity to their advantage. They may be miles from their adopted home of Brooklyn, but tonight they play as if surrounded by their closest friends; with bassist Galen Polivka handing out cigarettes and the occasional beer to the front rows, singer/guitarist Craig Finn leading the audience word-for-word through ‘South Town Girls’, and the whole band joking good-naturedly with the crowd and themselves.

“I wish I’d had corrective surgery – I can’t see through my glasses!” declares guitarist Tad Kubler, before hilarity ensues with Finn’s reply of: “What’s that got to do with a vasectomy?”

Finn may look more like an English teacher than a rock star, but he nevertheless makes for an excellent frontman; jumping around, dancing and frequently pushing aside his microphone stand to sing his rambling, Springsteen-esque verses straight into the faces of a now lively and highly enthusiastic crowd, who clearly know these songs inside out.

By the time he and dapper keyboard player Franz Nicolay return for a second encore of a genuinely heartfelt rendition of old favourite ‘Certain Songs’, there’s no doubt that we’re all having a good time, as well as a sense that The Hold Steady are destined for far larger venues than tonight’s.

Alex Gosman

Mean Fiddler
10.02.07

Having to take the stage at 7pm to play to a barely half-full venue is a somewhat daunting task, but Tat don’t seem particularly bothered. On record, the trio’s early Green Day-isms are nothing particularly remarkable, but in the live setting, the likes of ‘Champagne, Cocaine and Strawberries‘ become endearingly ragged around the edges; with a chorus of fans singing along down at the front.

However, it takes Floridian quartet The Draft to really get this show started. The band’s ‘In A Million Pieces‘ debut was a relatively unsung highlight of 2006, and tonight the anthemic chorus and raw honesty of opener ‘New Eyes Open‘ sets the tone for their whole set; with frontman Chris Wollard visibly delighted at the mass of raised fists in the pit. Hot Water Music’s split was a great shame, but The Draft are continuing their legacy in ultra-fine style.

There’s never much in the way of surprises at a Bouncing Souls show; the band seemingly having settled into their anthemic punk rock niche a long time ago. That said, last year’s ‘The Gold Record‘ album was their best effort in several years, and hence both new tracks and old standards like ‘Hopeless Romantic’ and ‘East Coast! Fuck You!‘ sparkle with a seemingly new-found vigour tonight.

Sure, singer Greg Attonito may not be quite as animated as you’d like, and the band may not be particularly talkative either, but it’s hard not to smile as they rip through song after song with all the energy of the Ramones in their prime. Joey and da bruddas would surely have approved.

Alex Gosman
Photo by Jen Saul

Hammersmith Apollo
13.02.07

‘We’re called Brand New and we’re from New York’. It seems Jesse Lacey hasn’t quite grasped the fact that he and his bandmates have sold out the Hammersmith Apollo, and the place is rammed with fans, hanging on his every word.

But that’s one of the endearing things about this band – whether we’re watching them in Madison Square Gardens or at the Barfly – they always so seem so humble, there are no oversized egos on stage, no swaggering arrogance – only the ironic, poison tipped lyrics reveal what’s going on in their heads.

It’s a miserable cold and raining night in London as Jesse Lacey takes to the stage a little after nine, quietly wandering to the front of the stage wearing what looks like an old cardigan, until the lights pin him down. Unassuming, almost wary and visibly taking a step back as the wall of sound from the crowd hits him, he drops smoothly into the first track. Jude Law And The Semester Abroad kicks off the fun tonight, tongue in cheek from the band, as it’s slating a girlfriend who’s gone to the UK and falls for the English charm.

Close on its heals is the usual set closer, Seventy Times 7 with it’s poison fuelled lyrics ‘Have another drink and drive yourself home. I hope there’s ice on all the roads. And you can think of me when you forget your seatbelt and again when your head goes through the windshield’. Lacey has in the past veered away from their early material, but the first thirty minutes tonight are dedicated to tracks from 2001’s Your Favourite Weapon, crowd pleasing favourites like The Shower Scene and No Seat Belt Song, and then we’re treated to a stunning rendition of the album closer Soco Amaretto Lime. As Lacey belts out ‘Going to stay eighteen forever’ the crowd are as one, lines ringing out word perfect.

The second part of the night arrives, a rinse through the wonderful Deja Entendu starting off with the familiar intro of Tautou and ‘burning like a bridge for your body..’ In this album the band found their direction. Months of endless touring had taken its toll, Lacey seems disillusioned with life on the road ( ” I write most post cards than hooks, I read more maps than books, I feel like every chance to leave is a chance I should have took..”), their sound was maturing and evolving into some deeper, darker, and more complex. Instead of taking the easy road of another pop album, they produced something that made you think, and the choice of tracks tonight tracks their journey onwards.

Sic Transit Gloria, The Quiet Things That No One Ever Knows, Me V Maradona V Elvis, and I Will Play Beneath my Spin Light are amongst the tracks on offer tonight , but it’s Guernica ( which Lacey dedicates to his grandfather) that’s tightens their hold on your senses. A personal highlight is the sublime The Boy Who Blocked His Own Shot, Lacey’s vocals come into their own, with that break to his voice, an almost pleading, apologetic shrug “Spring keeps you ever close. You are second hand smoke. You are so fragile and thin. Standing trial for your sins. Holding onto yourself the best you can. You are the smell before rain. You are the blood in my veins…” Lacey’s become quite the lyricist.

They run through the tracks in their album order, with is a rare pleasure for the crowd, with every tune being welcomed with another cheer, each one louder that the last. And whilst Lacey holds our attention on vocals, praise must be showered on Vinnie Acardi winding up and up on bass to the right of stage, head lolling, eyes wide, throwing his bass around the stage as though possessed.

And so onto the last part of the night, and we’ve still not heard anything from the new album The Devil And God Are Raging Inside Me. With the lightshow altering the mood on stage for each new ‘act’, the lights flash down to red, and it’s like hell’s door has opened,Welcome To Bangkok‘s instrumental opening is colossal, extra musicians roll into the stage, extra drums screaming out so loudly that Brian Lane’s beat dictates to your heart, extra bass throbbing insanely.

Luca, Jesus and Sowing Season follow, and all sound better than at Brixton. Lacey pauses before the last track of the night and thank Me Without You, and to say ‘thank you, thank you, thank you, thank you’ to the crowd. The general feeling of warmth towards the band could lift them clean off the stage, willing them on to the final fence. And what a goodbye it is, it’s a good thing it’s the last night of the tour, Lacey’s throat sounds like it’s being ripped out, as he falls to his knees, screaming ‘ YOU WON’T KNOW’, like an animal possessed, and as the Garrett Tierney, Vinnie and Brian leave the stage, he’s left, writhing, red light pouring over him. He throws his guitar to the floor and walks away.

Tonight Brand New made good all the promises they spun with their last album, the performance is raw, jagged and a pleasure to witness. Goes to show that every band has their off day, and whilst their last London show in Brixton lacked the verve that tonight gives, tonight’s made up for that, and some. The new year has breathed new life in Brand New and with tonight’s show they revealed they really are a force to be reckoned with. With a headline slot at Give It A Name in April, Brand New are showing their true colours, and what a glorious light show it is.

Dee Massey

Few bands have lasted the test of time quite like Fu Manchu. For nearly twenty years the California quartet have produced some of the loudest, fuzziest and all round fucked up rock and roll since Sabbath first turned their amps to 10.

Considered by many to be the godfathers of the ‘Stoner Rock’ movement, they’re a band that’s been copied by many but equalled by virtually nobody.

With the band’s latest masterpiece We Must Obey fresh on the shelves, front man Scott Hill took time out of his busy promotion schedule to join Ryan Bird in cyberspace for some proverbial tea and crumpets.

You’re about to release your tenth studio album. How would you say it compares to your previous efforts?

I think that this new record is A LOT more aggressive. I definitely feel that this record is heavier than anything that we’ve done in quite a while.

What’s the concept behind the title?

To be honest there’s no major concept. It’s just about doing what’s right for yourself for whatever situation you’re in. It’s also about not listening to others who think they know what’s best for you.

Did recording at such a revered studio as Grandmaster (Tool, Nine Inch Nails, Black Crowes) have an effect on how the record came out?

It was a cool experience, plus we produced the record ourselves. We went into the studio with a friend of ours – Andrew – and he got us the exact sounds that we wanted. We had all the songs arranged before we went into the studio so it was relatively pain free.

After doing the band for so long, what is it that keeps you going?

We just love playing live LOUD music! Plus, we’re also still able to enjoy touring around the world playing said LOUD music. The system works.

The current band line-up has been in tact for over half a decade. Do you consider it to be a completed puzzle now?

I’d say so. I think this is probably the final line-up for Fu Manchu. We all get along great so I think if someone left, we would call it a day.

Do you find yourself running short of ideas after so long?

No – not yet at least! We always seem to be able to come up with riffs and that sort of stuff all the time. Different arrangements are always a fun part of song writing too. There’s plenty of stuff you can do to help keep the juices flowing.

Having spent time on numerous labels over the years, do you feel settled with Century Media?

Absolutely. So far so good with Century Media. They seem to understand a band like ours, what we’re doing and where we’re going. We’re definitely very happy with the way the label has treated us thus far.

Who are some of your favourite bands around at the moment?

Hmmm… I’d have to say: Easy Action from Detroit, Clutch, Helmet, and Corrosion of Conformity.

What about your least favourite?

I don’t really have a least favourite to be honest with you. If I don’t like a band I just don’t listen to them. I’ll give any band a chance though. Probably.

If you could tour with any band, who would it be and why?

Any band is cool with us really. We particularly like to tour with bands that sound a little different than us, though. It’s fun to play to a different crowd.

How about if you could take any band on tour with the sole purpose of terrorising them? Any names or plots?

Ha! To be serious I would never want to terrorize another band. It’s hard enough to keep it together on the road without another band giving you hell.

What are Fu Manchu’s plans for this year? Any UK news?

The new CD We Must Obey will be out in a few weeks. After that we do 7 weeks in the USA before heading to Europe at the end of April for 7 weeks. Hopefully we’ll just tour some more until the end of the year after that.

Fu Manchu’s new album We Must Obey is in stores now through Century Media. Find them at www.fu-manchu.com

Listen to Fu Manchu kick start the latest Crossfire produced Heavy Shit radio show here. You are one click away from an hours worth of the latest tunes…click the flag when you get there.

Mean Fiddler
01.02.07

In strict contrast to the mild mannered mobbery of the Bloc Party queue outside of the Astoria, the queue forming adjacently at the Mean Fiddler for Cute Is What We Aim For was considerably younger. You would in fact be forgiven for assuming it was someone’s sweet sixteenth if there wasn’t an army of touts harassing the queue.

Opening the show tonight was the latest Drive Thru Records protégé David Melillo. Well spoken and polite this talented young man caused quite a stir. His short but sweet six-song set brought about more pre-pubescent screaming than was expected by many, but more than that, dancing and fun was seemingly had by all as he and his newly formed band careered their way through a set that was largely new material to most of the audience.

‘Morris County Blues’, the opening track had the audience glued as it led to ‘Wait for it’ followed by the seminal ‘This is 2005′. At this point Dave performed two solo tracks, ‘Sam’s Song’ and ‘Vatican Roulette’ before being joined again on stage by the band for the downright amazing ‘Knights Of the Island Counter’. For those unfamiliar with David Melillo; he’s amazing, even more so considering the fact that he’s only eighteen. God, it makes you feel old.

Following Dave was much-talked about Hit The Lights. This five piece pop-punk outfit from Ohio have been turning heads here ever since New Found Glory brought them over in December and are were recently confirmed for this summers Give It A Name festival. Even with their short thirty minute set, they blew away any shadow of a doubt that they are going to be one to watch in 2007. Playing material mainly from their album “This is a stickup… don’t make it a murder” they opened with ‘Talk Us Down’ which immediately had the crowd eating out of their hands.

‘These Backs Are Made For Stabbing’ followed quickly and ‘The Call Out’ was next, but it wasn’t until the first few notes of ‘Save Your Breath’ that it was apparent exactly how big the following for this band has got over here. Every word was sung intently and it didn’t stop there. The same happened for ‘Speakers Blown’, ‘Until We Get Caught’ and the two closing tracks, the much loved (albeit a little cheesy) ‘Bodybag’ and the pit-inducing power-pop of the mighty ‘309′. Hit The Lights made a lot of friends tonight, and Cute Is What We Aim For (CIWWAF) were really going to have to pull something out of the bag to top their performance.

It has to be noted at this point I suppose, that not only is this the end of the tour, but CIWWAF have also had problems for the last few dates. Lead singer Shaant Hacikyan has been having vocal issues all week and they even had to drop off of a few dates.

Two days prior to the show their confirmation was yet to be received so their being here alone was a good start. Opening with ‘Finger Twist and Split’ it was obvious from the word go that Shaant’s voice wasn’t 100%. Not that he sounded awful. Just… strained. None the less, the crowd lapped up everything they offered; ‘Newport Living’ gartering a reaction unexpectedly loud.

‘Moan’ was well received and ‘Teasing To Please’ was the surprise hit of the night. Even if the band in their entirety weren’t firing on all cylinders, the crowd certainly were, but in truth it was not a true reflection of the bands abilities. They weren’t at their best tonight, and it showed. Closing track ‘The Curse Of Curves’ brought with it a sigh of relief from many. The bands valiant efforts had been upstaged by Hit The Lights; and Cute Is What We Aim For had, and I say this shamelessly, missed their aim. Be it due to illness or not; CIWWAF promised lots and failed to deliver. Better luck next time.

Gary Lancaster

Mean Fiddler
25.01.07

‘Silent Alarm’ rang late in the winter of 2005 and has since been taken in by the millions of music fiends around the globe, people who love nothing more than a fresh melody drumming away harmoniously on their ears. This 4 piece from Essex, are too unique to describe, they have a wonderful way of playing normal musical instruments simultaneously and achieve a sound that is hard to go unnoticed!

Their music is raw, yet refined, it’s old, yet its never been heard before, it’s a serious masterpiece on every note and comes fully equipped with lyrical genius-ness. I can’t quite place their mentors as I’m not sure that they have any, but by comparison I would say Joy Division, The Cure, XTC & The Pixies are amongst their midst and shines through in their ballads of individualism.

Thursday night at the Mean Fiddler saw Bloc Party come on stage to play their phenomenal album ‘Silent Alarm’, alongside bits off their latest album, ‘A Weekend in the City’. This was no ordinary gig; this was a one off pre-release gig that gave Bloc Party fans the chance to see them live before their UK tour, which sold out in record time. As packed as the Mean Fiddler was, Bloc Party was still performing in front of a concentrated crowd, but it was a crowd filled with some of their biggest fans!

The first piece of music to hit the long awaited fans was the ever famous, ‘Like Eating Glass’. A great way to start their set as the energy of anticipation started glowing with electricity. Fans sang away to every lyric and Bloc Party was simply dropping bombs by the riff, in spectacular fashion. They churned out most of their beloved debut album, “Positive Tension”, “Banquet”, “She’s Hearing Voices”, “Blue Light” and “Helicopter“. Every song went down very well with the crowd, but it was “Modern Love” that I myself was waiting for. It fell on my ears like never before and I could tell that this track was a favourite for many of the screaming fans jumping around to the opening riff!

Amongst all the nostalgia filling a smoky Mean Fiddler, the band graced us with a few tracks off their new album. They delivered us with “Hunting for Witches”, “Song for Clay Disappear” and they’re latest single “The Prayer“, which is climbing its way higher and higher up the charts. It was well received and the last sequence of each track was muffled by applause and whistling of astonished fans.

Most of their new material came on after an obvious encore. To much of the delight of the fans, they reappeared with fresh tunes, as well as mixing in the remaining classics. They preserved one track and kept it locked up until they announced that they would now play their final track for the evening. “Luno” was echoing throughout the venue and crowd started chanting away as the opening riff came to life.

It was seriously amazing to witness and be a part of this show, a gig that I will definitely remember, not only for the unforgettable music, but the order in what it was staged, alongside with a bunch of Bloc Party fanatics who looked like they too were having the time of their lives.

Words and photos by 2P

Brixton Academy
29.01.07

Two weeks after it was originally scheduled, Killswitch Engage‘s UK tour rolls into London, albeit without now-hospitalized lead guitarist Adam Dutkiewicz. It’s not the first time the Massachusetts quintet have had to cope without him, and despite having had to postpone this show at the 11th hour, the massive queue stretching around the Academy shows that the crowd’s enthusiasm hasn’t waned any.

If only Bring Me The Horizon’s ability matched their enthusiasm. Baiting the crowd and constantly demanding circle pits is all very well when you’re an established, respected act, but tonight BMTH frontman Oli Sykes is nothing short of annoying; prancing around the stage whilst his band insist on shoehorning the same predictable breakdowns into almost every song they play. Ultimately, it is their departure which gets the loudest cheers from a largely disinterested crowd.

However, when The Haunted vocalist Peter Dolving tells us to “shut the fuck up!”, we obey. The Swedish thrashers may have diversified their sound on recent release ‘The Dead Eye’, but there’s no shortage of razor-sharp riffs in their arsenal to contrast their more progressive moments. Dolving himself seems rejuvenated; his powerful roars and energetic stage presence infused with enough conviction to get even the most jaded of punters pumping their fists in approval.

Killswitch Engage go straight for the jugular tonight; the metallic blitzkrieg of opener ‘A Bid Farewell’ whipping the pit into a frenzy. It’s immediately apparent that, although Dutkiewicz’s court-jester-with-a-guitar persona is noticeably absent, his replacement in former Soilwork guitarist Peter Wichers ensures that nothing is lacking in the sound department. “We do not deserve you guys!” declares an ever-humble Howard Jones to a crowd who greet new efforts like ‘My Curse’ and ‘As Daylight Dies’ with the same fervour afforded to Killswitch classics like ‘Rose Of Sharyn‘ and ‘My Last Serenade’.

In the absence of Dutkiewicz, Jones has become the on-stage focus of the band, and their closing cover of Dio’s ‘Holy Diver’ is a fine chance for him to demonstrate why he is regarded as one of the finest vocalists in modern metal. Tonight may not be Killswitch at the height of their powers, but their ‘show must go on’ ethos has done them proud.

Alex Gosman

Mean Fiddler
18.01.07

Given that The God Damn Whores are fronted by ‘Random’ John Poole (formerly of the Cardiacs and Wildhearts) it’s no great surprise that his band’s music lives up to his nickname. A bizarre fusion of punk fury, mammoth riffs and sheer art-rock weirdness, songs like ‘We’re In The Army, Baby’ are oddly compelling, not least because there’s almost always a big Kiss-esque chorus in there somewhere.

It’d take something special to make TGDW seem pedestrian, but it’s safe to assume that few in this room tonight have seen anything quite like Robochrist before. Imagine Brandon Lee’s character from ‘The Crow’ playing Strapping Young Lad b-sides, and you’ll have a rough idea of just how bizarre this one-man band is. By the time he exits the stage to a bastardized sample of a Werther’s Originals advert, half the crowd is laughing and the other half look confused. Which, presumably, was exactly the point.

You never quite know what you’ll hear at a Ginger solo show; so vast is the Wildhearts frontman’s back catalogue. There’s a fair few songs from last year’s ‘Valor Del Corazon’ album, a couple of Silver Ginger 5 favourites, and a couple of new efforts; both boasting the powerhouse riffs and catchy-as-fuck choruses that have become his trademark over the years. With many a faded Wildhearts t-shirt present tonight, most of this crowd are probably long-term Ginger devotees; filling every gap between songs with hearty cheers and a barrage of requests, which the man himself takes with good humour.

It’s indicative of the relationship between Ginger and his fans that he’s able to create the intimacy of a campfire sing-along in a half-sold damp hole of a venue like the Mean Fiddler. Goodness knows what lies ahead for him, but as long his songwriting skills remain this sharp, he’ll always be worth a trek into town on a cold winter night.

Alex Gosman

Northampton Soundhaus
18.01.07

Possibly the campest venue in the UK (the walls are painted pink, for gods sake!) it’s unsurprising to find the likes of Chinese Finger Trap propping up the bill tonight. What it IS, however, is infuriating.

Having split 2 years ago as various members ventured on educational persuits, their half hour slab of metrosexual pansycore provokes nothing other than a severe feeling that perhaps such a hiatus should have remained indefinite. If you like your bands to use more hair products than your mum and appear skinnier than your cock on a cold day, this could be your new favourite band.

But then there’s barely a soul inside the Soundhaus right now that’s here for any other reason than Enter Shikari. To put it simply, this crowd is young, and I mean REALLY young. Those in doubt need only see the line of parents lining the back wall, patiently waiting for their offspring who are currently going apeshit at the front. And with good cause, because no matter what age you are, it’s simply impossible not to find something appealing about the UK’s hottest current prospect.

Mixing trance beats with a ferocious yet anthemic metalcore assault, tonight they provide the ultimate night out; half metal gig, half rave. You can likely count the amount of bands capable of equalling such feats on one hand, but those able to better it simply don’t exist.

Marvel as they thrash around the stage in a terrifying blur of slicing riffs and guttural roars, before convincing the entire crowd to clap along in unison as glow sticks flash and flutter hypnotically. With a fan base that grows by the day and dates for their March tour almost entirely sold out already, the chances of ever seeing Enter Shikari in a venue this size again is slim.

In 20 years the kids down the front may well be the parents at the back, but when gigs are this ridiculously enjoyable age doesn’t matter. Oi mum, pass the glowstick.

Oxford Zodiac
10.01.07

Having been branded “the best punk band to come out of Britain since 1977”, tonight’s it’s clear as to why Gallows are such shit hot news right now. Far from providing catchy hooks and a slick image, the Watford mob are punk rock in its rawest and most primitive form.

With his giant spread eagle tattoo on display and with a face quickly becoming as red as his locks, vocalist Frank Carter spends as much time hurling himself from the stage as much as he does on it, and when coupled with such rock and roll infested cuts as ‘In The Belly Of A Shark’, it makes for one of the most dangerous, unpredictable yet utterly brilliant performances this sleepy Oxford venue has seen in years. Punk is no longer a 4-letter word.

The chances of ANY band being able to top or even equal such a tornado is slim at best, but it doesn’t stop California’s As I Lay Dying from giving it one hell of a shot. Alongside the likes of Underoath, the quintet are leaders of the media branded “Christian Metal” surge across the pond. To put it bluntly – they’re fucking huge. Latest album ‘Shadows Are Security’ has shifted some 250,000 copies Stateside alone, and as they thrash their way across the stage it’s no wonder. Don’t let their faith fool you, there is simply nothing holy about the likes of ’94 Hours’ as the band hurl their guitars like babies with rattles, pummelling the audience with devastating precision.

Where so many bands inject catchy choruses and melodic vocals without the ability to pull it off live, As I Lay Dying’s trump card lays in bassist Clint Norris. As front man Tim Lambesis slams his neck in every direction and drummer Jordan Mancino windmills furiously behind the kit, it’s Norris who lends songs such as ‘Darkest Nights’ and ‘Confined‘ pitch-perfect definition as those at the front scream with gut-busting passion.

Two great bands, one great gig, and a fucking blistering start to 2007.