LIVE FOR BEIRUT 2.0 (London Jazz Cafe, 11/12/20)

This wasn’t actually supposed to be my final gig of the year, but events ultimately eventuated in a predictably “2020” fashion. That said, watching Graham Coxon, The Mystery Jets, Rose Elinor Dougall and Bessie Turner in the classy, candlelit environs of the Camden Jazz Cafe was a perfectly low-key way to wrap up a year where live music may have been infrequent, but felt all the more special for it.

TEETH OF THE SEA (London Clapham Grand, 08/12/20)

There’s only one truly appropriate way to celebrate COVID Vaccine Announcement Day, and that’s getting your ears mercilessly shredded in an old Clapham music hall roughly the temperature of a deep-space asteroid. God bless Teeth Of The Sea and all that rock within them.

HOTEL LUX (London Signature Brew, 27/10/20)

Hotel Lux, then: zeitgeisty in that “South London neo-post-punk” type of fashion, though perhaps not quite as zeitgeisty as a bunch of millenials socially distancing in a freezing cold ale warehouse in Walthamstow. Not as interesting as some of the bands they associate with, but they make a decent racket nonetheless.

RICHARD DAWSON (London Barbican, 25/10/20)

Fulfilling all your fabric-themed balladry/dishevelled Geordie needs in one concise, COVID-compliant package, Richard Dawson’s eccentric genre-shattering approach to traditional folk might not be for everyone, but for those who like an imaginatively bat-shit edge to their music, he’s already pretty much a national treasure.

THE DIVINE COMEDY (London Barbican, 14/10/20)

Tonight we flew, over the houses, the streets and trees, thanks to the miracle of Neil Hannon and three solid decades of shamelessly baroque songcraft.

ERLAND COOPER (London Barbican, 10/10/20)

You wouldn’t think it possible to be spirited across the Pentland Firth by flurries of gannets, especially given current travel restrictions, but if there’s one person who could work such spellcraft, it’d be Erland Cooper. His subtle yet evocative musical tribute to Orkney and the surrounding land-and-seascapes, featuring the poetry of Will Burns, the spectral singing of Kathryn Joseph, and the lush ornamentation of the London Contemporary Orchestra was as close to a trip abroad most of us will manage this year.

JOSEF KURTZ (London Brixton Windmill, 01/10/20)

Some may have found this enigmatic fellow’s noise-pop weird and punishing, but in all honesty it was a damn sight less disturbing than candlelit tables at the Windmill.

OSIBISA (London Jazz Cafe, 26/09/20)

We may be living in an era that the Mayor from Footloose might think somewhat extreme, but neither the trials nor tribulations of Tier 3 could contain the might of the veteran Afro-funk fusionists. An essential burst of joy in these dark times.

THE MUSIC OF STUDIO GHIBLI (London Jazz Cafe, 21/09/20)

Put aside the new-fangled distancing requirements, and this was an identical show to the one in January. But hey, why change a successful formula? A delightful night of Joe Hisashi classics, performed by a vibrant and stylish string quartet.

SEALIONWOMAN (London Strongrooms, 31/08/20)

As I was saying before we were so rudely interrupted…

After seven months of COVID-induced lockdown, the mere fact I was in the company of people I wasn’t related to by blood was more thrilling than the particulars of the actual bill. But even under normal circumstances, the double-whammy of innovative string-looper Agathe Max and leftfield vocalist Kitty Whitelaw would have been a fine way to while away a sunny August Bank Holiday.

THE HOLD STEADY (London Bush Hall, 08/03/20)

Another year, another Hold Steady weekender, another vocally-ruined, sweat-drenched audience of elated Londoners. THERE IS. SO. MUCH. JOY.

LADY LAMB (London Chats Palace, 05/03/20)

I don't often rave about solo guitar-wielding types, but Aly Spaltro is the Real Deal- commanding stage presence, a distinctive songwriting style, and a voice even a bad cough couldn't hinder. Lovely stuff.

LADYTRON (London Heaven, 02/03/20)

A veritable synth-bangerama from the veteran Liverpudlians. Amazing visuals, great sound, underwhelming venue.

EFTERKLANG (London Barbican, 29/02/20)

Absolute magic from my beloved Danes, whose shows I'd call the embodiment of hygge if that didn't underplay how interesting and sublime their music is. A potential gig of the year contender, without a doubt.

GRIMM GRIMM (London Cafe Oto, 27/02/20)

Probably the most pleasantly melodic show I've ever seen at Cafe Oto, thanks to Koichi Yamanoha's baroque, Hideo-Kojima-endorsed, pop sensibilities. Not everyone gets half of Bo Ningen as their backing band, that's for sure.

SLEATER-KINNEY (London Brixton Academy, 26/02/20)

The mix was poor and the venue colder than Priti Patel's heart, but Carrie Brownstein is a weapons-grade badass, her synergy with Corin Tucker remains next-level, and 26 songs whizzed by in a blink of an eye. Been waiting to see these riot grrrls for years, and I was not disappointed.

OTOBOKE BEAVER (London Scala, 23/02/20)

Experienced the all-female Japanese garage-rock dervishes 7 times since 2016, and that may well have been their most raucous show yet. An extremely high-octane, but seriously thrilling, way to wrap up the week.

HMLTD (London Garage, 20/02/20)

 
Wasn't sure if these flamboyant glam-rock types would be my cup of tea, but even this cold-hearted old bastard was ultimately won over. It's been a long while since I've experienced a show with such "cusp of something big" energy.

NERIJA (London Village Underground, 18/02/20)

Had to ditch early for Reasons, but the half-hour I did catch featured more jazz than you can shake a baritone sax at.

YACHT (London Colours, 13/02/20)

The theatrical dance-pop collective brought their animated LA vibes to Hoxton for the first time in too long. Good fun all round.

AIMING FOR ENRIKE (London Dalston Victoria, 08/02/20)

Blistering set from the Norwegian math-rock duo - it's amazing what a noise you can generate with a guitar, a drum kit and 100,000 effects pedals. Think early Battles meets Ratatat.

DAN DEACON (London Scala, 06/02/20)

Seen the Bard of Baltimore 14 times now, and I can think of few other experiences that unfailingly bring me so much joy. A giant technicolour endorphin rush of a show.

ANNA MEREDITH (London EartH, 05/02/20)

 
Another evening of madcap maximalist genius from Scottish composition's mad scientist, which (naturally) wrapped up with a Daniel Bedingfield/ABBA/Carly Rae Jepsen/O-Zone/Crystal Maze medley because why not?

GALAXIANS (Leeds Brudenell Social Club, 01/02/20)

Maximal 80's disco vibes from the hometown heroes, closing the 5th CHUNK Fundraiser in rave-tacular style.

PARK JIHA (London LSO St Luke's, 31/01/20)

An often stunning fusion of traditional Korean instrumentation and minimalist modernism. Wasn't so much of a fan of the scraping strings piece as that sets my nerves on edge, but otherwise, a definite winner.

DRUG STORE ROMEOS (London Old Blue Last, 28/01/20)

Bit rough around the edges (as might be expected for such a new band), but Sarah sure has the ideal dream-pop voice. If you're a fan of Broadcast/Melody's Echo Chamber etc., you'll absolutely want to keep an eye out for these guys.

BLACK COUNTRY NEW ROAD (London Brixton Windmill, 27/01/20)

The only band I'll happily permit to start a headline set at 10.05pm on a Monday worknight. What a magnificent racket they make. Astrel K's first UK show was also fantastic- big fan of their Grandaddy/Sparklehorse vibes.

KATE DAVIS (London The Islington, 25/01/20)

An impressive performance from the jazz chantreuse-turned-indie balladeer. Sure she'll be playing far bigger venues than the backroom of a North London pub soon enough...

NORMAN CONNORS (London IndigO2, 24/01/20)

Top tip: if you ever want to feel young, go to a jazz-funk revue. Shame Ronnie Laws cancelled at the last minute and in all honesty some acts were better than others, but Lonnie Liston Smith and the tight-as-hell Starship Orchestra redeemed what could have been a disappointing night.

GIANT DRAG (London Oslo, 22/01/20)

A monumental-sounding show from the fuzz-drenched indie-rockers, though the highlight may have been the ever-volatile Annie Hardy launching the most deliciously withering takedown of the twats at the front who chatted through her first song. "Kevin Is Gay" remains a top-tier Tune.

ANTHONY BRAXTON (London Cafe Oto, 21/01/20)

Two hours of deconstructed jazz standards from the avant-garde legend (and Tyondai's dad). Second set was particularly breathtaking, not least Alexander Hawkins' electrifying piano work on 'Freedom Jazz Dance'.

THE BOY LEAST LIKELY TO (London Social, 20/01/20)

A pretty uplifting way to spend the most depressing day of the year, thanks to the Crown Princes of Twee.

OKI AND MAREWREW (London Japan House, 16/01/20)

A fascinating introduction into the world of Ainu music, with hilariously sharp commentary from tonkori master Oki.

JEFFREY LEWIS (London Rough Trade East 14/01/20)

A non-standard J-Lew set featuring a 30 minute tribute to an obscure Mike Rechner mixtape, previews of his comics work and a few audience requests for good measure. Odd, but not in a bad way.

THE SYMPHONIC SOUNDS OF STUDIO GHIBLI (London Jazz Cafe, 12/01/20)

Tend to set my expectations low for tribute concerts as they often prove a pale imitation of the real thing, but Stompy's Playground string-based effort was a genuine triumph. The Laputa, Spirited Away and Totoro selections were delightful, I was obviously chuffed to see the ever-underrated Porco Rosso get its due, and Whisper of The Heart was an unexpected highlight with its spontaneous audience sing-along.

THE JUST JOANS (London Lexington, 10/01/20)

Winsome, witty Scottish indie-pop to kick off another year of my bullshit.