YACHT (London ICA, 28/08/08)

Although not the first show I’ve been to devoid of live instruments (Alaska In Winter did a vocal-only performance back in April) it’s still a pleasant surprise to note that in capable hands such glorified karaoke can actually turn out to be as much fun was watching a more conventional set-up. And YACHT certainly know how to carry it all off- two charismatic Portlanders armed with an imaginative and cleverly choreographed PowerPoint presentation, unhinged dance moves and a refreshingly relaxed, unpretentious attitude. Musically, YACHT are much more dance-orientated than single “See A Penny (Pick It Up)” would lead you to believe, working well in conjunction with the minimalist set-up and songs were often interspersed with banter, crowd invasions and a Q&A session to compensate for the lack of musicians. Unfortunately, not all the good natured fun in the world could disguise the weakness of some of their material- the middle third visibly sagged under the weight of generic filler- but taking on board the limited materials they had to work with, it was a hell of a lot more fun than it had any right to be.

(Photo: Namestage (Flickr))

RA RA RIOT (London Water Rats, 27/08/08)

Ra Ra Riot seemed to have all the ingredients to engage my awesome-o-meter; a multitude of members, an attractive string section, jaunty chamber-pop sensibilities. Unfortunately they’ve seemed to have mislaid the tunes somewhere along the line. They perform well enough and their closing number’s a doozy, but on the evidence here they’re less of a riot than a schoolyard scuffle.

(Photo: Valido (Flickr))

HIDDEN CAMERAS (London St. Leonard’s Church, 23/08/08)


















Full review HERE

(Photo: John Gleeson)

FUTURE OF THE LEFT (London Water Rats, 20/08/08)

Having mysteriously neglected to check out this Welsh three-piece despite their vocal band of devotees plugging them at every opportunity, I finally got to find out what the fuss was all about. Fittingly taking place at the Water Rats, a miniscule, sweat-drenched room at the back of a Kings Cross boozer, their succinct shots of shouty off-kilter rock is delivered with an unusually fervent energy and their eccentric lyrics manage to come across as witty rather than obnoxious- an increasing rarity in this day and age. The acerbic humour of frontman Andy Falkous is an even greater draw, brutally ripping into a series of deserving targets including a chronically irritating front-row heckler unwisely wearing a Tool t-shirt. AND they threw Jaffa Cakes into the crowd, which is essentially all the bribery it takes for me to write a positive review. They’re probably not the great white hope of British music some of their more obsessive fans portray them to be (their material got pretty samey towards the end) but still, it’s encouraging that there’s up-and-coming bands with the balls and charisma to wash away the bad taste of the talentless chancers clogging up the charts with their interminable dreck.

(Photo: Valido (Flickr))

WILDBIRDS AND PEACEDRUMS (London Social, 18/08/08)

Well, it could have been awesome. Unfortunately, this show seemed to attract all the worst kind of bleating horse-faced London fashionistas, the kind of people who for the good of themselves as well as society should be whacked repeatedly in the kneecaps until they promise never to babble all the way through a gig again. The constant distractions didn’t quite distract from the quality of the Swedish duo’s set, although the experience very much paled in comparison to the Luminaire’s reverential atmosphere- even the band seemed thrown by the rudeness of the clientele. They ultimately triumphed, Mariam Wallentin astonishingly soulful vocals soaring above the chatter of morons but they deserved so, so much better.

(Photo: acb (Flickr))

O’DEATH (London Cargo, 14/08/08)

After the previous night’s show at the Roundhouse, it’s good to see O’Death back in the kind of tiny, sweaty club they naturally belong. Commencing with Adelita was a perfect statement of intent for a set that never wavered in its unrelenting energy; several more new songs were previewed (mostly sticking to the tried-and-tested gothic bluegrass formula, but no worse for it) and although time constraints forced them to omit Only Daughter, there’s little faulting such a tremendously assured performance. Brilliant sing-along finale of Lay Me Down to boot, leaving the audience gasping for more.

(Photo: Gonzalo MR (Flickr))

NINA NASTASIA (London Roundhouse, 13/08/08)














Full Review HERE

(Photo: Robocod (Flickr))

THE DODOS (London 100 Club, 12/08/08)

I’m undecided about the Dodos. Sure, they’re fantastic musicians and my Lord, they don’t half put some passion into their set but there’s something about them that doesn’t quite work for me. But first the positives- it’s been a long time since I’ve seen an act with so much fire in their soul- they remind me of Two Gallants before they went shit. Their clattering, impassioned folk-rock is delivered with an almost explosive vitality- Meric Long periodically almost falls out of his chair with the abandon he plays his guitar with; Joe Haener engages in the wholescale decimation of a metal dustbin when he’s not adding lovely vibraphone or toy piano touches to the mix. Sounds fucking awesome- and it would be if only they didn’t make every song last ten minutes. It’s a huge problem- even the greatest melody can’t survive being strung out that long and the limited instrumentation just compounds the feelings of ennui at hearing another extended drum-and-guitar freakout. It’s a real shame, as I honestly wanted to love them but overall I couldn’t help but feel they’re a band less than the sum of their parts.

(Photo: LittlePants (Flickr))

FIELD DAY (London Victoria Park, 09/08/08)

By all accounts (not least the organisers) last year’s inaugural Field Day was a bit of a disaster- too many people, ludicrous bar and toilet queues, twenty minute sets and such low volumes that cross-over between stages ruined almost every performance of the day. As a result, this was a make-or-break even t for the curators- and on balance, I think they just made it. The toilet queues were still obscene, the thoroughly miserable weather was a constant trial, there was a raft of last minute cancellations and the audience was still overburdened with Hoxtonite twats but musically this was heads and shoulders more impressive than last years shambles.
Current indie darlings Noah and the Whale inaugurated the main state with their insubstantial, though mildly diverting fare but it was Ozzie band the Howling Bells that provided the day’s first real attraction- their dark tinged indie rock was rendered with fierce, hard-edged energy. The Delgados’ Emma Pollack impressed with a solid and varied folk set; Laura Marling was even better although her performance was marred by the braying hipster morons events like these inevitably attract. The Mae Shi popped up twice- most memorably in a double-decker bus performing an a capella version of Run To Your Grave. Of Montreal and Les Savy Fav both suffered due to sound problems (the latter was redeemed by the typically mental Tim Harrington dispensing lost shoes he’d found round the site) but Efterklang were fantastic, their multi-instrumental splendour undiminished by the biblical storm raging outside. Unfortunately, I didn’t get to see Foals as my willpower collapsed and I fled to the warmth of Mile End tube station, but whilst retreating the torrential rains I reflected that despite being soaked to the skin, I’d still had a much better time than in 2007. As I said last year, Field Day had the potential to be a great festival if the organisers addressed the issues that conspired to ruin everyone’s fun, and they’ve made some progress in that regard. But there’s still lots of room for improvement, and although I’m willing to give it another chance in 2009 they better ensure that the same old problems don’t rear their ugly heads for the third year running.

(Photo: Felinebird (Flickr))

THE MAE SHI (London Old Blue Last, 04/08/08)

The most shambolic gig of the year so far. Californians The Mae Shi put on a gloriously shambolic, bodged-together wreck of a show, amplifying HLLLYH’s mentalist electro-punk sensibilities with a performance held together far more by enthusiasm that any actual musical qualities (though to be fair, the sped up Lamb and The Lion was maximally ace). But they were overshadowed and outclassed by Glaswegian “fight-pop” sixpiece Dananananaykroyd- taut, energetic, chockfull of driven guitar lines, impassioned yelping and catchy riffs they combined the chaos of the headliners with far more substantial songcraft. Getting the audience to form an archway with their hands to one end of the venue to the other song their lead singer could shuttle back and forth through it was easily one the best bits of crowd participation I’ve ever seen at a show, and I can’t imagine there were many there who weren’t blown away by their star quality. Utter madness- in the best possible sense.

(Photo: Lucy Johnston (Flickr/DrownedInSound))

RATATAT (London Cargo, 23/07/08)

By far the best part of CSS’ never-ending tour last year, the New York electro-dance duo (famed for their fantastic remix of The Knife’s “We Share Our Mother’s Health”) unleash their crisp, crunchy beats, wailsome guitar and freaky projections in Shoreditch hipster haven The Cargo, with surprisingly awesome results. Although their material does stick rigidly to a formula, it’s delivered with such aplomb that niggles about variety are moot- unlike many acts of their genre, there’s quite a lot of live input (guitars, bongos, snare) along with the backing tracks making it much more than just a live replaying of their albums. But the thing I enjoyed most (apart from the sublime “Wildcat”) was seeing such dance-related anarchy in the Cargo- I’ve oft complained about the total lack of atmosphere at that venue, but that audience more than made up for previous failings in that regard. Their hour long set just flew by, and unlike many shows I could have happily watched them for many hours more- although I love my more cerebral bands, it’s nice to have a proper dance once in a while.

(Photo: Durrr (Flickr))

LATITUDE FESTIVAL (Henham Park, Southwold, 18/07/08-20/07/08)

“More Than A Musical Festival.” Well, Suffolk’s premier festival likes to brand itself as such, and to its credit it’s true- the literary and comedic talent on offer is easily the equal of the bands on offer, and despite the focus of this review I did get the opportunity to sample some of its more unusual delights. But ultimately I was there for the music, and on this count Latitude (for the most part) didn’t disappoint.

First on were local heroes The Godwits, who failed to do Suffolk proud with their wet and uninspired indie balladry- much more impressive were London three piece The Joy Formidable, whose angular rock is backed up with an arresting energy that may secure them some mainstream success. Rosie and The Goldbug didn’t bode well with their self-consciously quirky, irritating electro pop but a talent for working a crowd really served them well and they managed to have half the audience dancing by the end.

But the day belonged to hotly-tipped Edinburghers Broken Records, who commanded the beautiful Sunrise Arena with a performance that surely made a fan of all who witnessed it. Previously hamstrung by a nervy, static stage presence, a punishing touring schedule has seen them finally gain the confidence to give their excellent Arcade-Fire-meets-Beirut material the edge to make them an unmissable live proposition, and rollocking closer A Good Reason stands out as one of the musical highlights of the whole weekend. Slow Club weren't quite on the same level, but nonetheless put on a delightful set, their lovely boy-girl harmonies married to whimsical but refreshingly unpretentious lyrics. It’s a shame Bearsuit didn’t take notes- Slow Club’s simple charms were much more fun than the messy, overegged pudding of the Norwich eccentrics (nice costumes though.)

Liverpudlian mentalists a.P.A.t.T were typically great, barnstorming through every genre conceivable like Akron/Family on crack, and even though they attracted one of the smaller audiences of the festival I saw few people without big grins on their faces, which is more than I can say for the oddly disappointing British Sea Power. The wonderfully triumphant All In It was neutered by an inexplicable lack of volume, and not even the inspired contributions of an Bulgarian woman’s choir could save a set that was too quiet for its own good. The Go Team were a lot of fun thanks to Ninja’s irrepressible energy and an up-for-it crowd, and even though the instruments are still too low in the mix (a flaw they haven’t rectified since I first saw them three and a half years ago) they were actually one of the most enjoyable acts of the day. Death Cab For Cutie’s phoned-in set was lacklustre, with the exception of the slow-burning, lighter-waving climax of Transatlanticism and Franz Ferdinand were exactly how you’d expect- great singalongs (I’d forgotten just how great their debut was), passable showmanship with a sprinkling of promising, synth-driven new songs. A perfectly enjoyable way to wind up this most eclectic of days.

Saturday didn’t start well. The unusual falsetto-heavy grooves of Wild Beasts captured my imagination, but otherwise I was treated to a parade of pleasant but uninspiring fare- tame indie poppers Fanfarlo, up-and-coming songstress Beth Rowley and venerable Belgians dEUS. Thankfully, this state of affairs was to prove short-lived, with a triumvirate of pure brilliance that was to blow me away. First off, American bluesman Seasick Steve- although he may not be quite the just-off-the-streets hobo he portrays himself to be (nowadays he’s actually a Norway-based record producer), he’s one hell of a charmer. An impeccably charismatic performer, he’s got the musical chops to back up his fantastic story-telling- whether playing a banjo, a three-stringed guitar or a plank of wood (!) he never less than impresses. Guest appearances from Eli ‘Paperboy’ Reed and the impromptu dragging up of a pretty young lady to serenade were memorable, but it never distracted from the basic premise of an old country fella singin’ the blues and was all the better for it. Definitely my most unexpected treat of the weekend.

Guy Garvey may have been a less accomplished raconteur than Steve, but he still delivered the goods as frontman of superior British indie-merchants Elbow. They’ve long skirted the edge of mainstream acceptance, but it’s only now that they seem to have finally crossed over- and deservedly so. For although they vaguely occupy the same genre space as dullards like Coldplay, their songwriting elevates them far above their peers. A deft hand in instrumentation is another point in their favour, giving them more substance than your average guitar balladeers and a phalanx of hardcore fanboys at the front enhance the atmosphere of an already very impressive set. But not even they could hold a candle to the utterly phenomenal Sigur Ros. Even as a dedicated fan, I had serious doubts they’d be able to recreate their otherworldly magic in a setting as vast as Latitude’s main stage but dear God did they prove me wrong. Without wanting to sound like a hyperbolic fanboy, it was the best festival set I’ve seen in my life and one of my top three performances I’ve seen full stop; perhaps it was the starlight, perhaps it was being surrounded by fellow fans but it was a majestic, magical performance from start to finish. For the first time, Hoppipolla was as dazzling as it’s always threatened to be and their ineffectual attempts at getting the audience to sing along to Med Blodnasir showed that the glacial demeanour of old is starting to melt, and as for the twenty metric tonnes of confetti they unleashed during Gobbledigook…well, that’s a moment I’m going to savour for a very long time.

And although Sunday was always going to struggle to live up to what I’d experience the previous night, the first show of the day almost gave Sigur Ros a run for their money. Delivering a special midday set before her evening performance at London’s Somerset House, the mesmerising Joanna Newsom enchanted all that witnessed her. Comfortable enough to try out a few new piano-based numbers (which, for the record, all sounded pretty excellent) she shone most when sticking to her trademark harp- Emily was tear-inducingly sublime, Peach Plum Pear and Bridges and Balloons breathtaking in their intricate prettiness. Even when she completely forgot the words to Sawdust and Diamonds the crowd forgave her- her infectious, unassuming charm made even her mistakes endearing. Brilliant, brilliant, brilliant.

The rest of the festival inevitably seemed a bit anticlimatic in comparison. Patrick Watson’s shambles of a set was upsetting, Glasvegas sounded great if a bit samey, Those Dancing Days were moderately entertaining and provided much late night fodder for the middle-aged male photographer crowd. Flavour of the month Noah and the Whale underwhelmed me with their forgettable whimsy; Okkervil River suffered from sound problems galore but managed to win the audience thanks to Will Sheff’s admirably concerted efforts to win over the crowd. Blondie, if truth be told weren’t very good by any objective standards- the embarrassing gyrating of an OAP purporting to be erstwhile sex object Debbie Harry plus plodding renditions of old hits can’t really be construed as the epitome of live music- but there’s just no resisting the singalong potential of classic songs like One Way Or Another and Atomic. I’m embarrassed to say it, but they were actually much more fun than festival closers Interpol whose snappy dressing and cool NY style is counteracted by the fact they only have one song, which they proceeded to play seventeen times in succession. They were actually so dull that I sought solace in the Uncut tent where Tindersticks proved a far more worthwhile experience, their understated, lushly orchestrated ballads actually distinguishable from one another. But neither band had the ‘oomph’ a final-night headliner should have; certainly, neither was in the same league as last year’s brilliant Arcade Fire set.

But all things said and done, I had a fantastic time. The atmosphere was lovely (if a bit genteel), the intimate scale of the festival makes it less stressful than the likes of Glasto, it’s bursting from the seams with hidden treats for those willing to look (a 3am piano rendition of Don’t Stop Me Now in the middle of the woods with a hundred folk singing along was pretty much the best thing ever.) The musical quality was less consistent than 2007, but it had more genuine highlights- Sigur Ros and Joanna Newsom were much better than anything last year. If there’s one major criticism, it’s that the line-up is a bit too indie-centric for its own good- some more left-field choices could spice things up a bit. Apart from that, can’t find much to fault- same time next year, I suppose!

(Photos: John Gleeson)

MICAH P. HINSON (London Bush Hall, 16/07/08)

A Texan country-folk singer associated with the fantastic Earlies, ex-jailbird Micah P. Hinson has lead a pretty colourful life; unfortunately that’s not always apparent in his rather pedestrian music. It’s difficult to get infused about the content of his par-for-the-course songwriting, although there are a couple of gems there- what’s far more praiseworthy is the intensity of his performance. Hinson wails, screams, bellows like a man possessed, filled with rockabilly fervour and his superb backing band only accentuate his energy; a duelling banjos interlude is genuinely astonishing. The venue is warmer than Satan’s crotch, but the effort he puts into his show is laudable and the audience spare no pains in showing their appreciation. It’s just a shame the songs themselves aren’t that much cop…

(Photo: Andy_Sheppard (Flickr))

PARTS AND LABOR (London Corsica Studios, 14/07/08)

After astounding me with their explosive support set for Battles last year, I’ve been really looking forward to seeing these exciting and ever-so-loud New Yorkers again. And in the tiny, unassuming Corsica Studios, hidden in the depths of Elephant and Castle, they whipped up a frenzy of percussive sound and melodious hooks to stun even the most hardened gig-addict into submission. Dodgy sound slightly scuppers epic opener Fractured Skies, one of my favourite songs of 2007, but from then on it’s 45 minutes of unstinting excellence- drummer Joe Wong is a revelation, a geeky looking fellow who attacks his kit like a fucking demon and new addition Sarah Lipstate adds both awesome guitar lines and eye candy. Their ace in the hole though is their ability to cross Battles-style technical brilliance with direct but catchy melodies; an eye for succinctness works in their favour too. Why this band doesn’t get more love is a mystery to me- personally, I reckon they’ve got the potential to be one of the most exciting bands around. Kudos also due to supports Screaming Tea Party, whose hyperactive Nipponese noisemongery sound was pitched exactly between Melt-Banana and the Polysics and was thus naturally pretty awesome.

(Photo: S.E.T.H. (Flickr))

THE HOLD STEADY (London HMV Oxford Street, 14/07/08)

A fun, forty minute instore street from the best purveyors of literate bar-room blues since Springsteen, although it's obvious that two years of solid touring have taken their toil on Craig Finn and co. Drawing exclusively from material from brand new album Stay Positive, I can't say they've changed much from previous albums- if you didn't like the energetic odes to drunken nights out that comprised their prior output, you sure won't like this. A couple of duff tracks aside, the new LP sounds great with some guitar work that stands out amongst their best.

(Photo: John Gleeson)

THE MAGNETIC FIELDS (London Cadogan Hall, 09/07/08)

It’s been four years since Stephen Merritt and his sardonic wit have graced our shores, but this extended absence sure ain’t cheered him up much. I’ve never seen Merritt before, who I’d always envisaged to be a foppish haunted type (a gothier Neil Hannon, perhaps), so to discover he was a stumpy, unassuming Big Apple Taxi Driver lookalike was a bit of a shock to the system. What wasn’t a shock, however, was just how damn good he was.

Due to a hearing affliction, Merritt’s unable to tolerate loud noises so faithful recreations from his fuzz drenched last album “Distortion” were out of the question (he can’t abide applause for the same reason, leading to the bizarre spectacle of a thousand people clicking their fingers in appreciation). Instead, he renders his material in a more low-key, acoustic fashion with the unusual combination of bouzouki, cello, acoustic guitar and piano which thanks to the talents of his touring band only enhance the idiosyncratic charm of his often romantic, dry-humoured songs. A disastrous journey to London could have soured the tempestuous Merritt’s mood but he was on good form, and acted as the perfect foil to his chattermouth pianist Claudia. The swanky Sloane Square venue was an inspired choice; pleasant, well-sized and blessed with high-vaulted, minimalist environs that do wonders for the acoustics. A good selection of material too; not only did they raid ever corner of the Magnetic Fields’ extensive back catalogue, but they found room for a couple of diversions into their Lemony Snicket-related side project the Gothic Archies (series author Daniel Handler is a sometimes accordionist for the band). It is perhaps a shame that Merritt’s condition precluded a greater array of instrumentation as the subtle arrangements occasionally became over-familiar but that apart, it was a pleasure to have to the rare opportunity to see one of America’s most acclaimed indie legends in the flesh.

(Photo: Erika Dias (Flickr))

FRIGHTENED RABBIT (London Madame JoJo’s, 08/07/08)

Given the hype currently surrounding them, I was actually a little underwhelmed by Frightened Rabbit’s headline show at Madame JoJo’s. Like their fellow Scotsmen The Twilight Sad (who they share musical similarities with) I feel I should've like them more than I actually did- they're passionate, and loud, and have a good line in harmonies and a wry, understated wit but apart from a ferocious, extended "The Greys" they didn't really wow me. The unbalanced bass levels didn't help, but the main problem is that the songs all sounded pretty similar. Other people seemed to be enjoying it though, so it's probably just me being awkward.

Also against their favour is that the two support acts were much better: Collapsing Cities were SUPERB, a kind of mish-mash of Holy Fuck, Foals and Doves who I can see getting pretty big very soon; and Esau Mwamwaya ft. Radioclit's mix of dance, electronica and Afrobeat (the real deal, not the preppy Vampire Weekend kind) was enjoyably out of the ordinary- they did a fantastic remix of AiH's "Heart It Races" that's well worth checking out, and they had scantily-clad African dancers to boot. Fucking bargain for a fiver.

(Photo: Jacqui Sadler (Flickr))

O2 WIRELESS FESTIVAL (London Hyde Park, 04/07/08)

Corporate-branded festivals aren’t generally noted for the innovative, cutting edge bookings and with Hyde Park bursting from the seams with mediocre guitar bollockry it was pretty self-evident that Wireless wasn’t going to be bucking the trend. But amongst the dross there were some bonafide gems, especially fantastic US indie-rockers the National who delivered a triumphant, borderline sublime set to a rapt audience of thousands. Matt Berninger’s intense baritone is perfectly complemented by his masterful band, and their setlist managed to strike a perfect balance between the old and new, as well as the lively and more introspective. (Anyone lucky enough to get there early were also treated to a additional four-song mini-set on the tiny O2 stage, a fine little treat for a fanboy like myself.) Eccentric British four-piece Guillemots also impressed- having wisely ditched the free jazz freakouts that made their 2007 shows such a chore, they’ve reclaimed the vitality and infectious charisma of their pre-Windowpane days. True, they’ve still not quite found their way with the new material but the likes of Trains To Brazil and the monumental Sao Paulo are still as utterly joyous as ever. It’s a shame I can’t say the same about headliner Morrissey- despite a solid setlist (Vicar In A Tutu!) and an unusually chipper turn from Moz, his plodding backing band sacrificed any sense of subtlety or variation in tone for overwrought jam solos. But at least he was better than Dirty Pretty Things and the Wombats, who between them could perhaps constitute a competent band- the former can evidently play and have the odd catchy tune but lack anything approaching stage presence; the latter seem amicable enough but couldn’t pen a half-decent song to save their lives. Unfortunately, utterly shrugworthy acts like these (The Courteeners, Lightspeed Champion) were par for the course, with anything mildly interesting the exception rather than rule. It’s a shame, because the organisation and weather was top-drawer; a more varied and ambitious line-up could have made it unmissable. Despite scattered moments of brilliance, an overall disappointment.

(Photo: John Gleeson)

WHY? (London Madame JoJo’s, 29/06/08)

Why indeed? Well, because their third LP “Alopecia” is the best damned album that’s been released this year. My prior investigations into the mysterious and scary world of hip-hop have been limited at best, but there’s a reassuringly indie element to Yoni Wolf’s work, adding quirky Sufjan-esque instrumentation and crisp guitars to his literate, if occasionally fratboy-ish rhymes. And I’m glad to report that he’s more than capable of communicating his genre-bending versatility in a live setting too. I’d always (groundlessly) assumed that Why’s live performance would be heavily reliant on backing tracks, but in fact it’s 100% live- Yoni and his three homies skilfully translate their material with an impressive array of multi-instrumental showmanship. The tracks from Alopecia are universally great- whilst some songs remain similar to their album version (the ferocious staccato of The Hollows) the likes of Song of the Sad Assassins are afforded new arrangements that make better use of the talents on show. They also added some older songs into the mix which were just as strong- I’d not hard the chance to check their first two albums, but on the evidence here I’ll have to make it a priority. If there’s one minor criticism, it’s the brevity of the set (an hour, which went in a blink of an eye), but there’s no complaining about what we actually got. A supremely confident and impressive performance, and with two fine support sets courtesy of My Sad Captains and S.J Esau one of the best value-for-money shows of the year so far.

(Photo: A Flickr In The Life (Flickr))

RADIOHEAD (London Victoria Park, 25/06/08)

An admission- I’ve never been that big a fan of Thom Yorke and his purveyors of whiny miserabilia. The Bends is a fine British rock album, sure, and OK Computer will forever stand as one of the few stone-cold classics to emerge from that godforsaken era known as the 90’s, but the rest of their oeuvre I can take or leave. So it was a pleasant surprise that I enjoyed the second of their massive Victoria Park shows much more than expected.

That said, I’d like to dispel the assertions spouted by wild-eyed Ateasers that Radiohead are in any way “THE BEST LIVE BAND IN THE WORLD EVAR.” They’re not. They lack the charm and showmanship for one thing- they’re just not all that exciting to behold. On a less superficial note, they’re don’t really modify their songs from their recorded incarnations either, leading to a technically brilliant but surprisingly staid musical performance. But that apart, it was still an excellent night, despite a faltering and uninspired first act. The generous setlist (it had to be, for £45) was too weighted at the start towards In Rainbows material and it took until visceral rendering of Hail To The Thief’s Myxamitosis for the crowd to get going. Twinkly xylophone’d classic No Surprises naturally received a rapturous reception, but the show only truly came to life when the sun began to set and they began delving into the rich seams of the pre-Kid A era. The superb lighting, involving a hundred dangling neon tubes finally reached their full effectiveness in the encroaching darkness, and helped encourage the communal spirit that emerged when they started on the hits. Personally, My Iron Lung followed by the lighter-waving epic sing/warble/screech-along of Karma Police proved the pinnacle of the night’s proceedings but the closing double whammy of 2+2=5 and Paranoid Android came damn close. I may be risking the wrath of the hardcore here, but it was only during these “populist” moments when Radiohead lived up to the oppressive cult of hype that surrounds them; their more esoteric material may get the crowds going at more intimate, fan-centric shows but you need anthems for a show on this scale and ultimately, Radiohead just about delivered.

(Photo: Belly Of A Whale (Flickr))

SIGUR ROS (Westminster Methodist Hall, 24/06/08)

Unfairly maligned as coffee-table bland-merchants after the BBC commandeered their back catalogue to score every trailer on the network, there’s still tons of evidence to suggest Sigur Ros’ sweeping post-rock crescendos stand head and shoulders over their many imitators. Although even the most ardent of fans must admit they stick doggedly to a tried and tested formula, it’s a formula that undoubtedly works- as is proved beyond doubt tonight.

Westminster Methodist Hall provides an intimate, plush setting that works well in conjunction with the Icelanders’ often mellow soundscapes, and even though the set-up of the venue deprives them of their awe-inspiring visuals they’ve still got enough crowd-pleasing tricks up their sleeve to wow the audience. An unexpected burst of confetti during Meo Blodnasir and the emergence of a fully-dressed up brass band during Se Lest’s climax are particularly delightful, and add a lighthearted touch to a band so often (wrongly) typified as humourless bores.

The new songs from their just-released fifth album “Með suð í eyrum við spilum endalaust” generally live up to the high standards we’ve come to expect from them, but they’re a bit too derivative of previous work, with the marked exception of the gleeful Animal Collective-ish psych-folk of Gobbledigook which hints that a welcome diversification may be in store for future releases. In any event, the live version was delivered with obvious relish by their 14-strong musical retinue, who armed themselves with all variety of percussion and even induced the crowd to partake in some audience participation. But ultimately, it was the transcendental Olsen Olsen/Hafssol double-punch that truly elevated this show to legendary status, the latter culminating in a crescendoing flurry of flailing violins, frantic percussion and Jonsi’s possessed e-bowing with jaw-droppingly sublime results. The twelve-minute Untitled 8, even without the epilepsy-inducing light show was as monumentally intense as ever and perhaps in recognition that this was an unusual show, they added an unprecedented second encore to preview brand new Anglophonic track. “All Alright”

If they have one fault, it’s that they may be too polished for their own good- a touch more rawness wouldn’t go amiss from time to time. But otherwise it was an breathtaking performance from one of the world’s most impressive live bands; a beautiful introduction for first-timers, an intimate treat for the seasoned fan.

(Photo: John Gleeson; Shimelle (Flickr))

MY BLOODY VALENTINE (London Roundhouse, 20/06/08)

Whilst most bands reunite for money, an ego-boost, or an ill-fated attempt to reclaim past glories, one gets the impression that when someone as prickly and perfectionist as Kevin Shields decides to make a comeback, he’s got a damn good reason to. And whilst My Bloody Valentine don’t have any new material on show just yet, tonight’s show more than proves they’ve not lost the scintillating energy that made them such a draw the first time round. The fierce opening chords of Only Shallow immediately dispelled fears their 14 year hiatus had softened them, and there’s little faulting any other of their picks from Loveless either. Some folks complained the vocals were inaudible throughout, but vocals have never been a prominent element of the MBV sound- anf in all honesty, most of songs work just as well as pure instrumentals. Their legendary reputation for volume held up to scrutiny throughout the evening, ultimately culminating in the twenty minute, tinnitus-baiting coda of You Made Me Realise: 128.9 dB of pure unyielding feedback that sounded like a jet-plane taking off in your face. At that kind of volume, sound ceases to be just noise but something tangibly physical; you could actually feel the vibrations wracking your body. Not exactly a pleasant experience as such, but the sheer sense of sensory overload was nothing if not memorable and almost hypnotic in a way I can’t quite place. Definitely one of the most unforgettable gigs I’ve ever been to, albeit one (for the sake of my eardrums) I’m not desperate to repeat any time soon.

(Photo: MBV-Glider (Flickr))

LIARS and DEERHUNTER (London Koko, 17/06/08)

It’s always odd going to shows where you’ve not heard any of the acts playing. Sometimes it works out well- some of the best shows I’ve been to have involved bands I’d never experienced before- but more often I’ve walked out wondering what all the fuss was all about. This gig neatly encapsulated both, delivering both a resounding success and a somewhat damp squib.

The considered, melodic fuzz of Deerhunter wasn’t well served by the Koko’s dire acoustics, but despite the lack of volume and static stage demeanour it was clear that these guys have something special about them- they captured that same mesmerising, hazy groove that the Animal Collective crew does so well. A generous hour long support slot allowed them time to slowly build up their multi-layered walls of noise, and although some areas dragged a bit, I couldn’t help but be thoroughly impressed.

Liars on the other hand came across like a watered down Les Savy Fav- more notable for the antics of likable Ozzie frontman Angus Andrew rather than their musical abilities. That’s not to say their energetic post-punk is bad (although sometimes it really is terrible) but apart from a couple of endearing singalongs and the occasional inspired groove it never really sparked. In fairness, much of the blame lies with the dreadful audience who generally looked like they’d been dragged to the venue by gunpoint- any energy expended by the band was quickly lost in a void of indifference. But even taking that into account, there wasn’t much there that suggested they really deserved the hype- a fun diversion, but nothing more.

(Photo: Hidden Shine (Flickr))

MELT-BANANA (University of London Union, 16/06/08)

A night of aural madness courtesy of our Oriental cousins, mental Brighton-based glitchcore fiend DJ Scotch Egg opens the night’s proceedings with a typically hyperactive mix of looped Gameboy samples, speedcore beats and incomprehensible screaming which veered wildly from off-kilter brilliance to ear-bleeding awfulness. Thankfully the headliners were a more consistent proposition- Melt-Banana have honed their frantic J-Pop-meets-hardcore punk stylings to an absolute tee. As fun as their random ten second bursts of frenzied guitar mauling were, they actually worked best when focusing around recognisable song structures- their excellent cover of “Monkey Man” out-Polysiced the Polysics. It wasn’t perfect- for a band famed for their live performances, they often looked like they were going through the motions- but for uncomplicated, pogo-tastic fun they’re hard to fault.

(Photo: Bibi Zajtai (Flickr)

FLEET FOXES (University of London, 11/06/06)

Purveyors of Crosby, Stills and Nash-esque harmonic loveliness, Fleet Foxes come to London riding a wave of hype that'd threaten to drown lesser bands. But although they couldn't ever be accused of pushing the envelope, the sheer clarity and power of their hippyish harmonies and lilting folk instrumentation has a timeless quality that makes quibbles about their originality moot. True, a bit of variety wouldn't have gone amiss- they sometimes come across as a rather too straightlaced cousin to Grizzly Bear- but there's no faulting the impressiveness what's there. Absolutely lovely chaps as well- they seemed genuinely overwhelmed by the reaction they got, and were more than happy to chat to the audience after the show was over. Nice to see lovely Baltimore duo Beach House in support too, even if they couldn't quite capture the ethereal beauty of their albums.

(Photo: John Gleeson)

WILDBIRDS AND PEACEDRUMS (London Luminaire, 05/06/08)

Bands like this remind me why I started going to gigs in the first place. The Swedish husband-and-wife duo have garnered a number of (well-deserved) comparisons to Bjork, but they combine their ethereal, stripped down organic sounds with a black-spiritual edge that’s entirely their own. In particular, Miriam’s astonishing blues howl is a marvel to behold, with the audience responding with one of the most respectful silences I’ve heard at a show. Some of their songs aren’t exactly easy listening, but they never seemed pretentious or needlessly left-field, and despite being 90% vocals and percussion (with occasional forays into kalimba and some sort of harp thing) they remained a fascinating, vibrant experience for beginning to end. The revelation of the year so far.

(Photo: Emphotoz (Flickr))

LYKKE LI (London Cargo, 04/06/08)

Swedish popstrel Lykke Li is yet another excellent alumni from the Scandinavian School of Pop, and her headline show at the London Cargo proved that she’s got the personality and infectious charm to back up her ridiculously catchy tunes. Shame though that the sound didn’t do her lilting vocals justice, although occasionally the songs were to blame too; whilst the singles are uniformly fantastic, some of the other tracks on her album suffer from over-similarity. She was actually most intriguing when ditching the hippy-ish indie pop and lovelorn balladry comprising most of her oeuvre for less predictable offerings- the quasi-Daft Punk electro-funk of Complaints Department and a cover of A Tribe Called Quest’s “Can You Kick It?” ended up getting the best audience reactions of the night. A promising, charismatic talent then, but with the potential to be much better. Fellow Swedes The Shout Out Louds delievered a spirited effort in support, but were unfortunately neutered by the terrible mix and indifferent crowd.

(Photo: Dramaqueenraji (Flickr))

SILVER JEWS and MONOTONIX (University of London Union, 29/05/08)

Dave Berman’s literate alt-country outfit returns to Britain in solid if unspectacular fettle, serving up a perfect balance of old and new material with enough proficiency to mask their curious lack of spark. Far more intriguing were Monotonix, an utterly insane Israeli punk band that make Les Savy Fav look like a bunch of pansies- the drummer shifting round the venue whilst beating the shit out of his instruments, the guitarist writhing on the floor as if in the throes of epilepsy, and the vocalist clambering across balconies, mooning the audience, pouring a rubbish bin over the drummer’s head, using every available surface as extra percussion and riding on the shoulders of various crowd members, often at the same time. Destined to be a word-of-mouth phenomenon.

(Photo: Photosinthedark (Flickr))

AVERAGE WHITE BAND (London Jazz Cafe, 24/05/08)

Although they must be like a hundred years old now, the classic “Tartan funk” act’s virtuoso grooves, Motown falsettos and peerless instrumentals still put most modern imitators to shame. The classic triple-whammy of Pick Up The Pieces, Cut The Cake and Let’s Go Round Again sent the surprisingly eclectic audience into raptures, they delivered an fine cover of Dionne Warwick’s “Walk On By” and if their occasional attempt at balladry fell a bit flat, they made up for it with obscene levels of unrelenting funk. Unlike so many retro bands embarrassingly clinging to fame (and talent) long gone, AWB haven’t tried to adapt to modern times- they just do what they do best. And by gum, they sure do it well.

(Photo: Jules2View (Flickr))

BROKEN SOCIAL SCENE (Shepherd’s Bush Empire, 23/05/08)

Well, it was certainly better than the crushingly disappointing Scala show last year. Sure, it was very jam-bandy and self-indulgent at parts, and Kevin Drew really needs to learn to curtail his yapping but thus it ever was. The point is, it was a proper BSS gig this time, with a dozen plus members, a zillion guitars and most importantly, the classic tunes that made their Leeds show 2006 such a memorable experience. Opening up with KC Accidental and Shorelines was a fantastic decision, and made the following Drew and Brandon Canning solo songs more palatable. Anthems For A 17 Year Old Girl was beautifully performed by Stars’ Amy Milian although it wasn’t quite as heartbreaking sans strings, but Ibi Dreams of Pavement (WITH SEVEN BRASS PLAYERS!!!) followed by Major Label Debut (Fast) were the unquestionable highlights, with the whole front half of the venue pogoing to the latter tune. The twats heckling for Feist were to be disappointed- she didn’t turn up- but a solo Lover’s Spit from Drew and the ten minute finale of It’s Gonna Break definitely compensated. Not quite the best I’ve seen them, but a brilliant return to form nonetheless.

(Photo: Jesusthepixie (Flickr))

SUNSET RUBDOWN (London Luminaire, 22/05/08)

I’ve been waiting two years to see Sunset Rubdown, the most brilliant member of that incestuous circle of Canadian indie acts centered around Wolf Parade, so to say I was eagerly awaiting their first ever London show would be a gross understatement. I knew their swirling, synthy technicolour bombast would work well in a live setting , but in the event they completely blew away even my exceptionally high expectations, elevating an already excellent oeuvre of work to new, breathtaking levels of brilliance. It’s difficult to pick a highlight from a show of such consistent high quality, but the unhinged vaudeville mania of Trumpet Trumpet Toot Toot and the stately transcendence of Stadiums and Shrines II are up there, as is the quasi-mystical spendour of The Mending Of The Gown. One could bemoan the relative lack of “Shut Up I Am Dreaming” material, but I get the impression Spencer Krug’s not the sort of guy to dwell on past glories- the three new songs previewed were all the equal of his previous work and far more impressive than his mildly disappointing contributions to the new Wolf Parade album. The intimacy of the Luminaire and the reverence of the crowd only contributed to the vibrancy of the band’s performance, and drummer Jordan Robson-Cramer deserves particular credit for his stunning contributions to his band’s viscous, layered sound. Spot-on in every respect, it’s hard to think how they can better this- it’s one of the most goddamn perfect shows I’ve ever been to.

(Photo: John Gleeson)

MGMT (London Astoria, 21/05/08)

A decidedly mixed bag from the Brooklyn duo, as detailed below:

The Bad: Starting 75 minutes late because of the football, iffy sound, a performance that was competent but decidedly unspectacular, constant self-indulgent improv sessions (especially during the encore), plus deadening arrangements of Time To Pretend and Weekend Wars.

The Good: More members than anticipated (five, plus a flautist during Electric Feel), a new guitarist whose constant hair metal soloing was pretty entertaining in a guilty way, The Youth and Kids were genuinely excellent, and a really good atmosphere throughout (especially when the venue went apeshit during Kids).

Overall, it wasn’t quite as bad as I feared they might be, but neither did it come close to living up to the excellence of their recorded stuff. I don't feel like I wasted my money, but neither do I have the inclination to see them again. Support act Florence and the Machine (think Emmy The Great doing the blues) was generally more impressive- think I may check her out at her headline show at the 229 next month.

(Photo: Valido (Flickr))

JENS LEKMAN (London Scala, 20/05/08)

I’ve often commented on the seemingly innate ability of our Scandinavian cousins to produce peerless sunny pop, aand Swedish maestro Jens Lekman is one of the finest proponents of the art I’ve had the pleasure to see. A hilarious raconteur and a dab hand at lyrical wit, he’d be worth seeing even without his glorious Abba-meets-Motown melodies, fantastically rendered here by his all-female string quartet (his violinist is incidentally the most beautiful woman I have ever seen) and duo of brass players. Truth be told, the gig itself was far from perfect- dodgy sound, technical gremlins galore, an often funereal hipster audience- but the fact is I was grinning ear to ear from start to finish, and that doesn’t happen often these days. Wonderful.

(Photo: Dave The Beetle (Flickr))

XIU XIU (University of London Union, 19/05/08)

Not a band for the light-hearted. Oppressive, anguished, intense- Jamie Stewart’s London show certainly wasn’t a barrel of laughs, but the ferocity of their angular, often atonal percussion-heavy set certainly grabbed your attention. Stewart’s curious yelp is an acquired taste, sounding like Carey Mercer at his most unhinged but it fits perfectly with the disturbing air his music creates. Impressive stuff, if hard-going at times; music to be admired rather than enjoyed.

(Photo: Swansea Photographer (Flickr))

IRON AND WINE and BON IVER (Kentish Town Forum, 16/05/08)

It was all about Bon Iver. Seriously, For Emma, Forever Ago is a good album but I sure wasn’t expecting him to be THAT good. Men playing acoustic guitars are generally a signal for me to escape to the bar, but Justin Vernon’s got the kind of voice that stops you in your tracks and commands your absolute attention. Aided by a drummer and guitarist, his material is given a rockier, more intense edge, the vocal harmonising is second-to-none and for a man who was headlining the 120-capacity Social later that week, he effortlessly managed to hold his own at the 2000-capacity Forum.

In comparison, the newly expanded Iron and Wine (eight members!) came across as a little tepid- whilst Sam Beam’s trademark whispered vocals have their charm, the relentless jazz-rock jamming and soullessly smooth arrangements got tiresome after a while. Nice beard though.

(Photo: Max Tollworthy (Flickr))

THE NATIONAL (Dublin Academy, 15/05/08)

What happened to Two Gallants?! It’s hard to believe that the hoary, half-arsed blues peddlers that bored the audience to tears at the Dublin Olympia are the same group that blew me away with their ferocity and primal energy at Fibbers two years ago. Thankfully, the same cannot be said of The National who were as amazing as eve. Matt Berninger was in unusually fine fettle- he even looked like he was enjoying himself at times- and his band (including an all-new brass section) have honed their musical skills to perfection. If there’s a lack of rawness and spontaneity, it’s more than compensated by the sheer quality of their music- they absolutely nailed Apartment Story and Fake Empire and the enthusiasm of the Irish crowds (so much better than their London counterparts) made this one of the most downright enjoyable gigs I’ve been to all year.

(Photo: Wheatin2 (Flickr))

BATTLES (London Astoria, 14/05/08)

John Stanier obliterating his drumsticks with his inhuman precision drumming, Tyondai Braxton’s curious gurning as he takes on guitar and keyboard duties at the same time, Dave Konopka hiding down back with his bass and five gazillion effects peddles and Ian Williams dancing in the corner whilst he strikes his synths with irregular precision- yup, it’s Battles time again. And whilst they put on a typically excellent performance, it has to be said their identikit setlists are starting to get a little dull. Nice of them give EP favourite Hi Lo a rare airing, and Atlas was absolutely immense as ever but there’s so little variation between performances that I think I’ve finally had my fill.

Dirty Projectors were once again a divisive proposition- weird time signatures, wall-of-sound female harmonies and the lead singer’s high-pitched wail definitely aren’t for everyone. But I enjoyed them, despite their characteristically intricate guitar work being sloppier than normal. Fuckbuttons also showed intermittent moments of greatness, although their intense noise rock had too many stretches of pointlessness to reach its full potential.

(Photo: Lucy Johnson (DrownedInSound))

MAN MAN (London Cargo, 13/05/08)

Described variously in the press as “gypsy pirates” and “Viking vaudeville”, I had really, really high hopes for the much-praised war-paint clad crazies called Man Man. And it must be said, there’s absolutely no faulting the performance aspect of their show; moustachioed frontman Honus Honus leaping from stools onto his keyboard, drummers playing kits with their feet, saucepan and drain-pipe jams, bells and whistles galore and all manner of mindboggling craziness. But the sheer brilliance of their antics couldn’t mask the deficiencies in some of their music-although at their best they were incredible (Black Mission Goggles and Van Helsing Boombox FTW!), there was a lot of weak stuff that not even their riotous frolicking could save. A great gig with flashes with magnificence, but not the world-beater I was expecting.

(Photo: Alan Bee (Flickr))

THE OCTOPUS PROJECT (London Madame JoJo’s, 12/05/08)

Whilst most of London’s regular gig vultures descended upon Brooklyn’s highly-hyped trance-folkers Yeasayer, I decided to rebel and see Texan four piece The Octopus Project play their first ever London show at London’s infamous Madame JoJo’s. Imagine Of Montreal covering Holy Fuck and you’re mostly there; an addictive mix of day-glo indie-pop and pounding 65daysofstatic-style percussion with a pinch of theremin for good measure. A few of their sparser moments occasionally cause the set to sag, but the spine-tingling beauty of I Saw The Bright Shinies and their irrepressible enthusiasm took my breath away. Shame that most of the audience left after the bog-standard indie-by-numbers of openers Kaputt!- they missed one of the surprise musical highlights of the year so far.

(Photo: Martin Deutsch (Flickr))

THAO NYUGEN AND THE GET DOWN STAY DOWN (London Luminaire, 09/05/08)

Recalling an acoustic Rilo Kiley, Thai-American songstress Thao Nyugen is one of the more charismatic and vibrant performers I’ve seen recently, friendly, witty and obviously enjoying every moment of her performance.. Her husky voice has the occasional habit of slipping out of key, but she’s got a certain rawness that puts me in mind of Martha Wainwright and backing band The Get Down Stay Down compliment it well with their animated, percussive instrumentation. If there’s a weak element, it’s the songs themselves- a couple of mid-tempo tracks don’t go anywhere and even amongst her stronger tracks, there’s nothing you’d consider essential. But the sheer likeability of the band more than made up for the deficiencies in the songwriting, making for a modest but delightful little show.

(Photo: Anna Scialli (Flickr))

NICK CAVE AND THE BAD SEEDS (London Hammersmith Apollo, 07/05/08)

Fifty years young and as disreputable as ever, Ozzie legend Nick Cave’s ragged, energetic two-hour show proves the old hell raiser has no intention of slowing down. Taking more than a few tricks from his raw, non-nonsense side project Grinderman, the Bad Seeds add a uncompromisingly rock ‘n roll slant to their formidable back catalogue, particularly impressing when they dispense with the subtleties and went full-pelt towards tinnitus-inducing blasts of sound. Unfortunately, this bludgeoning approach works markedly less well for their slower numbers, and combined with several moment of scrappiness, the occasional technical hitch and more than a few instances of forgotten lyrics and it’s clear why some fans left the show disappointed. Overall though, the highs more than outnumbered the lows and at their best, with Cave in full preacher-man mode and the terrifying Warren Ellis rolling about the floor in a violin-induced freakout, they’re pretty much as cool as any goddamn band in the world.

(Photo: Big Marvin (Flickr))

DEATH CAB FOR CUTIE (London Electric Ballroom, 06/05/08)

For a band long castigated for their emo-image, Death Cab For Cutie sure know how to rock out. Their generous 21-song set list was delivered with an energy that would surprise their detractors; a well-balanced mix of new stuff and crowd-pleasing oldies, the recent “Narrow Stairs” material particularly impresses with their return to a more guitar-based sound adding a bit of extra kick to their melodies. A couple of overly mellow tracks fizzed out unspectacularly, but there’s little else to criticise in a show the band admitted was “their best for ages”- the all-encompassing post-rock coda of closer Transatlanticism being a perfectly powerful closer for a night that never less than impressed.

(Photo: Lastyearsgirl_ (Flickr))

HEALTH (London Luminaire, 01/05/08)

Checked out hotly-tipped noise rockers HEALTH on a complete whim on Thursday, and was pretty damned impressed. Atonal spazz-rock isn't normally my bag, but even though I still wasn't entirely sold on their music their live performance is a jaw-dropping explosion of sound and energy- flailing guitarists, frantic fretwork and SO MUCH DRUMMING. Seriously, the Zangief-alike drummer was fucking AMAZING on his own (I'm talking John Stanier good) but with all other members joining on percussion duties the set descended into a veritable storm of 100-decibel drumbeats that left my ears ringing for days afterwards.

Really enjoyed openers Pre, who were a completely mental blend of CSS and Melt Banana; the other band Skeletons came across as Dirty Projectors-meets-Yeasayer-meets-Menomena-meets-total-insanity; a bit outre for my tastes but they definitely couldn't be accused of being 'generic'...

(Photo: Exceedingly Good Keex (Flickr))

A NIGHT OF STRINGS (London Luminiare, 29/04/08)

How could I resist an event with a name like that? Headliner was American songstress My Brightest Diamond; a charasmatic, eccentric character with a startlingly haunting voice which she marries to electric folk with impressive results. Did a great cover of Prince's "When Doves Cry" complete with beatbox and some, um, "funky" dance moves. Supports Clare and the Reasons once again astounded me with their brilliance; the gorgeous "Pluto" is one of those few songs that successfully combine quirkiness and utter lusciousness without coming across as irritating- for lovers of Regina Spektor et al. I'd recommend them wholeheartedly.

Zorro-lookalike Paul Frith, the organiser for the evening, was less impressive performing his own material; string arragements were decent (courtesy of the Reasons) but the songwriting and lyrics were painfully wet and generic. Luckily, he redeemed himself with a parochial folk reimaging of the Oompa Loompa song, which showed more imagination than the rest of his set combined. Add in some three-song mini-sets from London anti-folkers Jay Jay Pistola and Rodney Fisher and you've got the best bargain of the year so far.

(Photo: Estrelas e Limons (Flickr))