OH NO ONO (London 229, 02/12/09)



Good band, shit hair. The Danish five-piece struggled against ridiculous bass levels, but nonetheless moments of excellence shone through. The discordant falsettos and more overwrought elements of their OTT synth-pop grate at times, but Internet Warrior and The Wave Ballet displays a promise that they’ll hopefully live up to in the future.

(Photo: TC Electronic (Flickr))

DEER TICK (London Borderline, 01/12/09)



Their infectious country-rock may appal those who find derivativeness anathema to their being, but Deer Tick’s rip-roaring show certainly entertained despite a lack of new ideas. Lively and slightly lewd, they made several jaunts into the audience and closed with an a capella number where they marched through the Borderline, invading the toilet and merch tables before winding their way back to the stage. Even better though were supports Megafaun, a chirpy and likeable trio who are basically Akron/Family without the more infuriating flights of self-indulgence.

(Photo: bixentro (Flickr))

LIGHTNING DUST (London Bush Hall, 30/11/09)



Review: HERE

(Photo: Anika Mottershaw)

TOUTPARTOUT 15TH ANNIVERSARY PARTY (London Scala, 26/11/09)



Review: HERE

(Photo: Anika Mottershaw)

THE ANTLERS (London Bush Hall, 25/11/09)



The fifth time I’ve seen Peter Silberman’s wonderful band in as many months, and I can’t see myself getting bored of them any time soon. I honestly wouldn’t be surprised if in years to come their semaphore effort “Hospice” is in held in the same awed regard as Neutral Milk Hotel’s “In The Aeroplane Over The Sea.” Both tackle poignant subject matter in a stunningly poetic and moving way, without ever seeming overwrought or wallowing in misery for the sake of it, but here the focus is even tighter- the story of a man’s fraught relationship with his dying lover. Not the cheeriest of subject material, but the best works of art tend to reflect the darker side of life and The Antlers succeed masterfully without succumbing to shameless melodrama. The narrative being so central to the music, it’s natural that the band play the album straight through with little banter to disrupt the flow; though this may seem alienating at times it’s a necessary sacrifice to ensure the maximal emotional impact.

What *was* slightly disappointing was the muddy sound that robbed some of the power of Silberman’s vocals; I also felt Sylvia was slightly shorn of its emotional resonance due to an over-rapid tempo. Nonetheless, it was an achingly poignant hour of dense guitars, slow building crescendos and beautiful passion, most perfectly encapsulated in the final song, the devastating “Epilogue.” From its acapella intro to its intense post-rock coda, it’s an absolute marvel of a closer; one of the most affecting musical moments of the year, and one that I can imagine will be only more sublime when they perform it at the peerless Union Chapel next March.

(Photo: John Gleeson)

PYRAMIDDD a.k.a STARFUCKER (London Flowerpot, 24/11/09)



Review: HERE

(Photo: (Flickr))

GOD HELP THE GIRL (London 100 Club, 21/11/09)



Review: HERE

(Photo: Christoph!(Flickr))

THE DECEMBERISTS (London Coronet, 19/11/09)



Elephant and Castle isn't a neighbourhood often associated with joy in any way, shape or form, but Colin Meloy and his merry troubadours did their damnedest to change that, at least for one night. The first half of their epic two-hour show was a complete airing of deliciously OTT rock opera The Hazards of Love without break nor banter; whilst in the hands of a lesser band this could have been alienating, their professionalism and showmanship ensured it delighted from start to finish. Combining Meloy's superlative tale-telling with 70's trad rock, the additional vocal talents of Shara Worden (My Brighest Diamond) and Becky Stark (Lavender Diamond) provided a touch of glamour as well as sublime harmonies, and the multi-percussional coda of The Rake's Song evinced a sense of fun that balanced the relative seriousness of the performance, resulting in one of the best hour's of music I've seen this year.

The traditional set that followed wasn't quite as triumphant as Hazards, but a superb setlist (16 Military Wives! Legionnaire's Lament! Yankee Bayonet!) and Colin on sparkling form ensured the second half was by no means a disappointment. What's more, they wrapped up with brilliant sea-shanty The Mariner's Revenge, complete with exhortations to the audience to “scream as if being devoured by a whale” and an inflatable version of said aquatic beast that darted round the Coronet with murderous intent in its plastic eyes- the best possible ending to by far the best Decemberists gig I've had the pleasure to see.

(Photo: John Gleeson)

WHITE RABBITS (London Water Rats, 18/11/09)



The hotly tipped New Yorkers sure can't be faulted for liveliness, but for all their energy and enthusiasm there's a lack of catchiness in their songwriting that prevents them engaging as much as they should. The two-drum set up works excellently, and at their best they evoke a infectious Man Man-meets-Harlem Shakes vibe that's impossible to dislike, but overall they fall short of the greatness they're obviously capable of. Supports Django Django were pretty impressive though, despite a curtailed set- avant-garde indie-pop with synths and coconut shells and a singer that sounds a bit like Alex Kapranos with a cold.

(Photo: littlepants (Flickr))

AKRON/FAMILY (London Garage, 17/11/09)



Chaos lies at the heart of all Akron/Family gigs, which means there's always a risk that a given show may collapse into pretention at any time. Tonight, this occurs with even more regularity than normal, but not even a surplus of self-indulgence could detract from an often excellent and inventive performance. Veering away from the folkier end of the musical spectrum to noisier, less melodic climes there's all the genre-bending improv madness you'd expect- their raved-up Buraka Som Sistema moments were brillian, though the 20 minutes of sub-Animal-Collective drones would have sent even the most sugar-addled hyperactive into a state of catatonia. Shame about the Berlin Wall-esque barrier precluding much of the audience participation, but on the whole a perfectly enjoyable showing from a band whose lack of self-restraint is both their greatest strength and most crippling weakness.

Oh, and brilliant support set from Slaraffenland- innovative Danish indie-pop with orchestral flourishes reminiscent of Efterklang and Jaga Jazzist. Check them out at the Queen of Hoxton on 8th December, you won't regret it.

(Photo: Christopher Walmsley (Flickr))

REVERE (London Flowerpot, 14/11/09)



First time in almost two years I've seen the underrated Londoners, and glad to report they're as enjoyable a live band as ever. Bit derivative of other epic multi-instrumentalists with a tendency to end every song with a cacophonous post-rock coda, but they sound a bit like Hope Of The States and that's always going to make me happy.

(Photo: ghbradshaw (Flickr))

THE FLAMING LIPS (London Troxy, 10/11/09)



Sometimes, I suspect Wayne Coyne's his own worst enemy. As awesome as the Flaming Lips frontman is (I mean, he begins the show rolling around the audience in a giant hamster ball) he's cursed with two afflictions that constantly conspire to pierce the aura of unrelenting joy he seeks to create- he's under the delusion that he's a profound and articulate orator (which he's not) and his tedious desire for applause AT ALL TIMES has the tendency to annoy rather than inspire elation. It's unfortunate, because with a bit more restraint they could be one of the best live bands in the world- as it stands they're just a brilliant one.

Wayne's ceaseless cod-philosophical rambling apart, there were still more than enough amazing moments to soften the heart of the most embittered critic. There's few more joyous experiences in all of gigdom than gazing round at a sea of grinning, delighted faces during “Race For The Prize”, as a hundred giant balloons and a torrent of multi-coloured confetti cascaded from the skies, and I think I bust a couple of vocal chords caterwauling along to the superb “The Yeah Yeah Yeah Song.” The edgier new songs (“Evil” and “See The Leaves” especially) all sounded great, and the addition of a new band member meant they were less reliant on backing tracks than in the past,. Less immediate prog-outs like “In The Morning of the Magicians” sat cosily with the big crowd-pleasing sing-alongs (“OH YOSHIMI, THEY DON'T BELIEVE ME, BUT YOU WON'T LET THOSE ROBOTS EAT ME!”) but my personal highlight was “Pompeii and Gotterdammerung,” complete with lasers and a giant psychedelic gong- a combination that made me happier than you could possibly imagine. And then, of course, there was “Do You Realize?” which was naturally wonderful in every single respect. It's true that once you've seen the Flaming Lips once, you've seen them a hundred times- their shows are always the same, and they'll never astonish quite as much as the first time you see them but despite their many flaws, I just can't help but love them.

(Photo: Weilin Wang (Flickr))

ROYKSOPP (London Shepherd's Bush Empire, 05/11/09)



Review: HERE

(Photo: The Line Of Best Fit)

HANDSOME FURS (London Garage, 02/11/09)



Dan Boeckner and Alexei Perry must be the most adorable couple in indie-rock. Their passion, vivaciousness and overwhelming love for their music and each other transcends the technical hitches that plague the beginning of their set and despite the simplicity of their set-up it's all so much more satisfying than the impressive but over-earnest orchestra-fests of the previous week. Setlist similar to April's show, but frankly who's complaining?

(Photo: John Gleeson)

GRIZZLY BEAR (London Barbican, 31/10/09)



Review: HERE

(Photo: Anika Mottershaw)

EFTERKLANG (London Barbican, 28/10/09)



Efterklang performing their critically-acclaimed breakthrough album “Parades” with the Britten Sinfonia was never going to be a disappointment, and so it was that its ethereal, at times playful majesty was splendidly recreated in the grand surroundings of the London Barbican. A more serious occasion than your typical Efterklang show- no high-fiving the audience at every conceivable interval- the band were nonetheless bedecked in commendably colourful attire (the orchestra opting, despite the insinuations of the programme, to adopt a more muted fashion style) and Casper Clausen’ sheer enthusiasm gave an endearing touch to a show that could have been too formal for its own good. Perhaps too many moments simmered when they should have soared (then again, that applies equally to the source material) but when the myriad elements came together it was glorious to behold- Mirador was utter perfection, bolstered by wonderful choral backing vocals and Cutting Ice With Snow was as powerful and beautiful as one could hope. However, they perhaps saved the best until last with the premiere of a new track from their upcoming album- more instant than their previous work without losing any of their offbeat charm, it’s made me very excited to see what potential masterpiece they come up with next.

(Photo: Anika Mottershaw)

PORTUGAL THE MAN (London Hoxton Bar & Kitchen, 27/10/09)



Two members down but no less fantastic, Portugal The Man made a triumphant return to London with enough 10 minute long wigouts and falsetto vocals to satisfy even the most demanding 70’s psychedelic rock fan. Mad props to the bassist, who appeared to be having a seizure at several points throughout.

(Photo: Higher_Ground (Flickr))

OUR BROTHER THE NATIVE (London Luminaire, 26/10/09)



Review: HERE

(Photo: Anika Mottershaw)

DOVES (London Roundhouse, 22/10/09)



Review: HERE

(Photo: Lauralilauralu (Flickr))

SOAP & SKIN (London Purcell Rooms, 20/10/09)



Review: HERE

(Photo: Anika Mottershaw)

SPIRITUALIZED (London Royal Festival Hall, 13/10/09)



Playing your landmark album in its entirety seems to be the cool thing to do these days (reunions are SO 2008) but if they’re all delivered with such loving care as Spiritualized’s recitation of late-90’s classic “Ladies and Gentlemen, We Are Floating In Space” there’s little cause for complaint. J. Spaceman may be as static a frontman as ever, but augmented with 2 guitarists, a keyboardist, a bassist, two percussionists, 6 brass players, a string octet and 12 members of the London Community Choir the music is anything but. The wondrously dreamy space-pop of the title track is delivered with such spine-tingling intensity it literally takes the breath away, even outshining Come Together’s stirring gospel-heavy refrain. Like the album, there are moments that don’t really go anywhere- Jason Pierce isn’t the most sophisticated of songwriters, either lyrically or melodically- but they’re more than made up for by the likes of Electricity, whose brutal assault is accompanied by such apocalyptically intense strobe lighting I started seeing colours that weren’t really there. Shame the sound isn’t quite as good in the balcony as one might hope, but not even that can mute the immense power of a 20-minute Cop Shoot Cop, complete with an extended noise wig-out that pushes the limits of the less hardy connoisseur (personally, I fucking loved it). An excellent, at times tremendous performance, it lacked the consistency to be a true gig-of-the-year contender but despite its flaws it’s an experience I most definitely wouldn’t mind repeating come December.

(Photo: Littlepants (Flickr))

IMMACULATE MACHINE (Brixton Windmill, 12/10/09)



A charming and good-natured show from the Canadian quintet, filled with up-tempo synth that may not have broken any boundaries but provided perfectly pleasant Monday night entertainment. Stained Glass Heroes and Joy Of Sex provided competent but uneven support.

(Photo: Christoph! (Flickr))

THE FIERY FURNACES (London Cargo, 08/10/09)



It's been almost three and a half years since I last saw the siblings Freidburger in action, and it's kinda heartening to see that although their albums have moved in a more accessible, instantly likeable direction, their live shows are as unpredictable and crazy as ever. Bearing no heed to the original arrangments, the band twist, remould and completely overhaul their back-catalogue, shifting time-signatures and rhythms in weird and wonderful ways and delivering it all with the impeccible technical brilliance of Deerhoof. It sometimes took a while to twig what song they were actually playing and there were a couple of mid-set lulls, but with such a well-judged blend of old and new material coupled with exceptional musicianship I left hoping it wouldn't be quite so long 'til the next time.

(Photo: sophie_of_delusion (Flickr))

THE ALLOTMENT (London Betsey Trotwood, 07/10/09)



Well, I didn't actually get to see any of the bands because I was on Door Custodian duties, but a well-deserved congratulations to Anika and Lynn for putting on such a excellent (and successful) first gig. Hope to see many more in the future!

CHRIS GARNEAU (London Luminaire, 06/10/09)



An enjoyable set of eccentric vaudeville pop that tottered too often into the snares of cheesiness to fully win me over, but hey- any man who professes a love of Frog Eyes is alright by me.

(Photo: Anika Mottershaw)

JULIE DOIRON (London Luminaire, 30/09/09)



Review: HERE

(Photo: Anika Mottershaw)

INVADA INVASION (Bristol Colston Hall, 26/09/09)



Review: HERE

(Photo: 6010 (Flickr))

SLOW CLUB (London Scala, 24/09/09)



One of the better proponents of the Brit-folk scene, this Yorkshire duo combine earnestly sweet acoustic balladry with a delightfully self-effacing sense of humour (and a penchant for performing songs in the middle of the audience). Much recommended.

(Photo: taraghb (Flickr))

MUSIC GO MUSIC (London Institute Of Contemporary Arts, 22/09/09)



Review: HERE

(Photo: Anika Mottershaw)

THE VEILS (London Scala, 21/09/09)



Review: HERE

(Photo: Alisha Ahmed (Flickr))

THE WHISPERTOWN 2000 (London Luminaire, 19/09/09)



Enjoyable country-rock stomps and impressive facial hair from The Whispertown 2000, whose infectious enthusiasm almost compensated for the evening's sub-par support acts. Actually, that's not entirely fair- Anna Calvi's guitar skills were damn impressive, it's just a shame her songs were lacking.

(Photo: Anika Mottershaw)

AU (London Cafe Oto, 16/09/09)



Imagine if you merged Holy Fuck, YACHT and Lightning Bolt together via some sort of awesome musical alchemy and you might get something a bit like Au. The ever-energetic duo's short but effervescent set jolted between jaunty camp electro-balladry and assaults of pure noise with carefree abandon but they were never less than entirely compelling.

(Photo: Anika Mottershaw)

SUNSET RUBDOWN (London Garage, 15/09/09)



My Spencer Krug fanboyism has been well documented so I'll keep this brief- despite being not quite as sublime as the Luminaire show, this still ranks as one of the best shows of 2009. Idiot Heart was much more electrifying than its recorded incarnation, Trumpet Trumpet Toot Toot is still a masterpiece in synth-drenched mania and the run of You Run On Ahead->The Men Are Called Horsemen There->Mending Of The Gown spectacularly highlighted the best songs off each of their albums. Hooray!

(Photo: tnarik (Flickr))

CRIPPLED BLACK PHOENIX (London Dingwalls, 14/09/09)



My ears still haven't recovered. Not quite post-rock, not quite prog-rock but most definitely fucking loud, the 8-piece's apocalyptic 'end-time ballads”shook Camden to its foundations. Although the Mogwai/GY!BE influences are clear (the bassist from the former band was a founding member), there's a lot more going on than just guitar-centric crescendos- there's a theatrical element to them that's much more Pink Floyd than the po-faced minimalism that normally besets the genre. Highlight was “Burnt Reynolds” which unexpectedly was even more OTT than on record, with the small but appreciative audience happily filling in the song's choral parts. Fantastic.

(Photo: Dematak (Flickr))

DIRTY PROJECTORS (London Scala, 13/09/09)



Taking support bands into account, possibly the best all-round shows I've been to this year. Dirty Projectors were occasionally infuriating but mostly brilliant- the additional band members really enhanced the Bitte Orca stuff, and the female vocal harmonies were on occasion utterly out-of-this-world. And tUnE-yArDs was worth the price of admission alone- I've rarely, if ever seen someone with such incredible vocal control. She does some very unusual things with her voice, and uses loop pedals, a ukulele and a drum to create a sound akin to a one-woman Animal Collective. Certainly left-field, but rather brilliant- the greatest support band discovery I've made in 2009.

(Photo: David Emery (Flickr)

LONEY DEAR (London Union Chapel, 10/09/09)



Well, Loney Dear was OK and Whispertown just didn't suit Union Chapel but tonight was all about the wondrous Wildbirds and Peacedrums who put on the show of their lives. Always peerless in terms of vitality and passion, the Swedish husband-and-wife duo finally had the acoustics to give full life to their tribal drums and impassioned, wild vocals, not to mention a wonderfully respectful audience. It's no exaggeration to say the climatic duel-drumming of Today/Tomorrow was one of the most breathtaking things I've ever seen at a gig; one of those increasingly rare moments where I am left genuinely lost for words. An absolute marvel of a performance.

(Photo: Anika Mottershaw)

BELL ORCHESTRE (London Garage, 09/09/09)



My first time seeing the instrumental Arcade Fire side-project, and man, they sure didn't let me down. Even with their more restrained, subtle compositions there's an unostentatious passion that elevates their emotional resonance to a higher plane, and when they let loose with their soaring flights of orchestral beauty they're capable of moments as breathtaking as anything I've ever seen, most notably the transcendental climax of Icicles/Bicycles. Shame about the Luyas' crushingly disappointing set though- difficult, tuneless and beset with technical hitches, it certainly didn't show them off in the best light.

(Photo: John Gleeson)

THE KISSAWAY TRAIL (London Bush Hall, 07/09/09)



The Danish five-piece's propulsive set may have suffered from a lack of variety, but their heavily post-rock-influenced indie rock has an impressively expansive quality that often seemed too epic for the modestly sized Shepherd's Bush venue. But even better were the dark and atmospheric Chimes and Bells, whose moody subterranean female vocals and intense drumming were a far cry from the jollity of many of their Scandinavian contemporaries. And there were free cupcakes. Success!

(Photo: Anika Mottershaw)

THE DODOS (London Bush Hall, 03/09/09)
 


The Dodos are talented guys, but they sure don’t make it easy for the audience. Their spectacular displays of percussive folk would have taken the breath away if they hadn’t gone on forever, and the variable quality of their song-writing was sadly spotlighted by their insistence on playing mostly lesser-known (read: aimless) material. What made it worse is that they finally got the formula right during the encore, leaving us to wonder how good they could’ve if they’d been that focussed and engaging throughout. Pretty good, but not nearly as good as they should be.

(Photo: Alan Bee (Flickr))

THE ANTLERS (London 229, 02/09/09)



Review: HERE

(Photo: John Gleeson)

THE WELCOME WAGON (London St. Leonard’s Church, 01/09/09)



Although I may not be as down with the J-Man as Vito Aiuto and his Presbyterian pals, my personal religious convictions were no impediment to enjoying this thoroughly charming little show. Performing in a church lit solely by candlelight, the Asthmatic Kitty signings tonight bolstered their gospel infused indie-folk with a four-piece backing choir and a professional pianist. Vito’s vocal style is reminiscent of Sufjan Stevens (who incidentally produced their debut), but the real draw is his wife Monique, whose pure, delicate vocals add a touching hint of wide-eyed innocence to the deep spirituality (and at times, foot-stomping fun) of their music. They seem like truly lovely folks too, engaging the audience with good-natured banter and giving a Brooklyn baseball cap to the person whose birthday was closest to Christmas “because they always get gypped when it comes to presents.” It’s just a shame this wasn’t better advertised (I only found out about it that very morning) because they deserved a much bigger audience- let’s hope they make a welcome return soon…perhaps with Mr. Stevens in tow.

(Photo: Littlepants (Flickr))

I’M FROM BARCELONA (London Favela Chic, 27/08/09)



Probably the first time genuine joy has ever been elicited at a trendy Shoreditch wine-bar, I’m From Barcelona’s typically celebratory performance was as always a total pleasure to behold. The 14-piece Swedish joy-horde may be reluctant to tweak their setlists (this was almost identical to last year’s Scala show), but the 200-strong audience were too busy being covered with confetti, bouncing balloons and fending off crowd-surfing saxophonists to care. AND they covered Justice vs. Simian’s “We Are Your Friends” which naturally ranks as one of the greatest gig moments of 2009 so far. Awesome scenes.

(Photo: Anika Mottershaw)

MONOTONIX (London Garage, 24/08/09)



Review: HERE

(Photo: Anika Mottershaw)

BEACH HOUSE (London Union Chapel, 21/08/09)



Three competent but undistinguished performances from three talented but uncharismatic bands. Papercuts’ folk-Deerhunter sound piqued my interest, but I‘ve seen more vitality in a morgue; Vetiver were slightly more lively, but I’ve only a limited appetite for their traditionalist folk-country leanings. Headliners Beach House had a few isolated moment of greatness and their new songs sounded promising, but the fact remains they sound a a lot better on record- their synths sounded washed out and not even the grand acoustics of Union Chapel could make Victoria Legrand’s voice soar as it should. A slightly disappointing evening.

(Photo: Anika Mottershaw)

BILL CALLAHAN (London Union Chapel, 19/08/09)



Review: HERE

(Photo: Ewan-M (Flickr))

PORT O’ BRIEN (London Borderline, 18/08/09)



I’ll be perfectly honest- I wasn’t expecting much from this. A couple of songs apart, Port O’ Brien’s recording output has never really set my world alight and their support slot for the Silver Jews indicated a band with little to elevate them above the mire of similar folk-rock ensembles. But I was wrong. True, some of their output is the kind of workaday indie the West Coast seems to pump out by the gallon but there’s some very solid numbers there and it’s all delivered with such effusive, grin-inducing energy that even the weaker moments don’t grate. Plus they had Two Gallants’ Tyson Vogel on drums, and that man is one of the most phenomenal percussionists in the world. Watching him in full flow is almost hypnotic, it’s like he has a personal vendetta against every square inch of his drum kit; if you haven’t seen him in action, you owe it to yourself to rectify that. A surprisingly excellent performance from a band I’d previously dismissed, I’d be more than happy to check them out again when they return to London in November.

(Photo: Anika Mottershaw)

BROADCAST 2000 (London Luminaire, 14/08/09)



Another solid evening of music courtesy of London’s most dependable music venue. We Aeronauts continue to cement their status as one of the UK’s most promising new live acts, the multitudinous multi-instrumentalists combining solid indie-pop melodising with sterling musicianship and charming stage presence. Brooklyn’s Forest Fire weren’t quite as endearing with their ill-advised moustaches and moments of monotony but hell, they can’t half rustle up a magnificent racket when the mood takes them, whilst Broadcast 2000 have a nice line in dazzling glockenspiel solos, but sound way too much like Noah and the Whale for my liking.

(Photo: Anika Mottershaw)

DEVOTCHKA (London Cargo, 11/08/09)



Review: HERE

(Photo: Anika Mottershaw)

THE NATIONAL (London Royal Festival Hall, 10/08/09)



Although The National hail from Cincinnati, their London shows always seem like homecomings. It’s my ninth time seeing them, so there‘s little I can add to all the gushing praise spouted elsewhere in this blog- they continue to marry exceptional songwriting and intensity like few other acts, the perfectly-judged percussion never fails to impress and Matt Berninger‘s still a surprisingly effective frontman for all his shyness- tonight saw several ventures into the audience and an ill-fated attempt at sliding around on an ice-covered stage. I’m still not entirely won over by the new songs (except opener Runaway) but the Alligator/Boxer-heavy setlist sparkled with a multitude of gems and a rare airing of oldie Available was a welcome treat for the many hardcore fans in attendance. A powerhouse performance from a truly special band, it’s surely only a matter of time before they break through into mainstream consciousness and get the widespread acclaim they wholeheartedly deserve.

(Photo: John Gleeson)

PITCHFORK FESTIVAL (Chicago Union Park, 17/07/09-19/07/09)


Review: HERE

(Photo: Chris Alvarez)