BO NINGEN (London Hotel Street, 16/06/12)

Do you enjoy brutal riffage, psychedelic swirls of noise and/or mental long-haired Japanese men leaping off speaker stacks and swinging electric guitars precariously close to your face? Then go check out Bo Ningen, one of the best goddamn bands in the country right now. Face-melting, eardrum-battering, axe-soloing brilliance, and tonight, all for a grand total of 3 English pounds. Sweeeeet.

REPTAR (London Birthdays, 07/06/12)

Review: HERE

(Photo: Roseanne Liu)

MOONFACE (London Cargo, 29/05/12)

As a paid up member of the Spencer Krug fan club, the last couple of years have been tough. Wolf Parade disbanded just as they were hitting their peak as a live band, and Sunset Rubdown (one of my most beloved bands in the world) announced their indefinite hiatus shortly afterwards. Bereft of further opportunities to sing atonally over “Dear Sons And Daughters of Hungry Ghosts”, the immortal maxim “God doesn’t always have the best goddamn plans” rung truer than ever. And thus, I’ve awaited this Moonface gig with the same fervour Spencer has against ghosts, snakes and possibly ghost snakes. I was not to be disappointed. True, tonight didn’t reach the manic kaleidoscopic peaks of the best WP/SR shows (and the set admittedly did flag towards the end), but the reverb-drenched majesty of “Lay Your Cheek on Down”, the yelping intensity of “I’m Not The Phoenix Yet” and the krautrock odyssey that is “Shitty City” are all fantastic additions to the Krugian oeuvre, and damn, that guy can still hammer those synths like nobody else.

(Photo: John Gleeson)

BEACH HOUSE (London Village Underground, 24/05/12)

Review: HERE

(Photo: Minh Le (via The Line Of Best Fit)

OF MONTREAL (Brighton Concorde 2, 26/04/12)

Of Montreal shows can be somewhat hit and miss - the best of them truly joyous occasions, bringing the best out of their disco-funk psychedelia; the worst an ungainly mess of silly gimmicks and musical sloppiness. Thankfully, tonight fell firmly into the former category, with a Hissing Fauna-heavy setlist, appearances from “Wraith Pinned From The Mist” and “The Party’s Crashing Us” and Kevin Barnes on sterling form, flouncing about on stage dispensing confetti and unleashing lycra gimps upon the assembled masses. No “The Past Is A Grotesque Animal” unfortunately, but that’s literally the only fault I can level against it. Fantastic stuff.

THE MAGNETIC FIELDS (London Royal Festival Hall, 25/04/12)

Music’s most loveable grump delivers another delightful set of macabre ditties and cynical wit wrapped up twee. The absolute highlight was the haunting cover-of-sorts of “Smile! Nobody Cares How You Feels”, but two hours felt like two minutes in the midst of Stephen Merritt’s unimpeachable baritone and disdain for pretty much everything.

(Photo: John Gleeson)

KISHI BASHI (London Waiting Room, 24/04/12)

What a gig! Sure, it’s easy to compare Kishi Bashi to fellow string-loopers Owen Pallett and Andrew Bird, but to his massive credit he does something innovative with a formula that’s gone a bit stale over the years. His violin skills impress although aren’t quite Bird-level, but the main draw is his love of improvisation, his melding of genres and of course, his awesome beatboxing. “Just a Tip” is dance-hall inspired filth, another song incorporates Arabesque touches, and Manchester is pure, shimmering indie-pop joy. The best new act I’ve seen this year by a country mile, and one I hope to playing much bigger stages in the very near future.

SOAP & SKIN (London Scala, 11/04/12)

Oh, if only this had been at a more suitable venue than the Scala. Anja Plaschg is one of music’s most terrifyingly intense performers, her gothic industrial compositions punctuated with brutal piano hammering and screams of pure anguish, but even her dark drama loses something when it’s incessantly interrupted by the click of a malfunctioning smoke machine. Nonetheless, there were some truly spine-tingling moments, not least the apocalyptic “March Funebre” or the slow-building and stunningly atmospheric encore of “Pale Blue Eyes.”

(Photo: John Gleeson)

65DAYSOFSTATIC (London Garage, 10/04/12)

My first 65daysofstatic show in half a decade, and man, I’d forgotten how good a live band they are. Achieving a perfect balance between the math-rock instrumentals of old and the dancier material of recent years, there was hardly a moment to catch one’s breath as they unleashed one killer onslaught of grinding guitars and shimmering electronica after another. Plus, they finished their main set with the unbeatable double-whammy of Retreat Retreat->Radio Protector, which automatically made this the most sweatily enjoyable show of 2012 so far.

(Photo: Rachel Lipsitz)

SUFJAN STEVENS, BRYCE DESSNER AND NICO MUHLY (London Barbican, 09/04/12)
 

Three doyens of the independent music scene joined forces to perform a series of compositions inspired by the Solar System - with varying degrees of success. We were warned before the show started that this was a “work in progress” and it shows; “The Sun” sounded like an unfinished sketch rather than a meaningful part of proceedings, and a couple of other planets suffered from repetitive or aimless structures. That said, when “Planetarium” was good, it was very, very good, the baroque and ostentatious Jupiter and brassy cinematics of Mercury being particular highlights. Not a patch of Sufjan’s live shows last year, but an interesting and worthwhile experiment all the same.

(Photo: John Gleeson)

RETRIBUTION GOSPEL CHOIR (London Old Blue Last, 05/04/12)



Alan Sparhawk ditches the understated melancholy of Low for straight-out, balls-to-the-wall rock ‘n roll. Good fun, if a bit samey at times.

(Photo: S Shingler)

DARK DARK DARK (London Bush Hall, 04/04/12)



C'mon, there was a man who played a trumpet and accordion AT THE SAME TIME. If that isn’t totally awesome, I don’t know what is. Chamber-folk may have got a bit stale as a genre recently (strings and wind instruments don't always compensate for mediocre songwriting), but Dark Dark Dark's compelling instrumental and stylistic eclecticism makes them a joy to experience.

(Photo: Pimlicoco)

THE 802 (London Barbican, 16/03/12)



A dissonant, chaotic, mesmerising smorgasbord of folk, electronic and modern classical-tinged compositions courtesy of Nico Muhly, Sam Amidon, Doveman and Owen Pallett. Particularly memorable was “The Only Tune,” a powerful and original reimagining of an traditional English folk song which may mark the only occasion where the amplified sound of head-scratching has ever been utilised in a serious musical composition.

(Photo: Tastelackingmodernist)

JEFF MANGUM (London Union Chapel, 13/03/12-14/03/12)



Yes, there could have been a bit more brass, yes, the sing-alongs were more muted than I would have liked, but goddamn, I just saw Jeff Mangum sing pretty much the entirety of “In The Aeroplane Over The Sea” in London’s most beautiful gig venue. I could go on about the rawness and power of Jeff’s voice, or the shivers “Oh Comely” sent down my spine, but what really sums it all up is that the standing ovation he received on the second night was perhaps the loudest and most passionate I’ve experienced in over 750 gigs. Wonderful, wonderful, wonderful.

ALL TOMORROW’S PARTIES: CURATED BY JEFF MANGUM (Minehead Butlins, 09/03/12-11/03/12)



HIGHLIGHTS:

Jeff Mangum (the only man who could compel a thousand Guardian-reading halloumi munchers to sing “I LOVE YOU JESUS CHRIST”)
BOREDOMS (standing next to the speakers for the climax of ‘Acid Police’ was both the best and worst thing I’ve ever done.)
Joanna Newsom (as ever, ‘Sawdust and Diamonds’ nearly made me blub like a 5-year old girl)
Sun Ra Arkestra (I too want to be a cartwheeling, jazz-playing space wizard)
Electric 6 Holiday Special (which ended with half the band singing or sousaphoning Sun Ra covers out by the chalets)
Apples In Stereo (The perfect joy-pop salve for what remained of my eardrums post-Boredoms)
Mike Watt and George Hurley Play The Songs of The Minutemen (Simply bad-ass, even 30 years on).
Yann Tiersen (no accordion, but violin wig-outs and vintage synths galore. No complaints here.)
Group Doueh (Saharawi grooves and awkward hipster dancing. Even spotted Jeff Mangum throwing a few shapes.)
Magnetic Fields (Stephen Merritt and I nearly walked into each other outside the artist’s catering area. He did not look impressed.)
The impromptu Elephant 6/Sun Ra/Magic Band/Boredoms/ACME jam session in Reds at 1:30 Monday morning.

LOWLIGHTS

The atrocious sound for Olivia Tremor Control.
The ill-thought-out setup for the A Hawk And A Hacksaw-scored film screening, which meant you could neither see the film nor band.
Too...much...Finnegans.

Overall: Up there with the Ten Years and Matt Groening weekends, and a return to form after the dreary GY!BE event. Roll on December!

(Photo: John Gleeson)

ANDREW BIRD (London Barbican, 05/03/12)



An unconventional set from Chicago’s whistler-in-chief, comprising a run through his new album and an encore of traditional folk songs, covers and one or two old favourites. Not something you’d want for every show of course, but as a one-off it was interesting, and to be honest, Andrew Bird could play two hours of Creed covers and still make your jaw drop with astonishment.

(Photo: John Gleeson)

OBERHOFER (London Lexington, 22/02/12)



See review: HERE

M83 (London Shepherd’s Bush Empire, 16/02/12)



Let’s face it- an M83 show is basically the album played really, really loud with lots of shiny lights, unyielding percussion and judicious amounts of cowbell. And I wouldn’t have it any other way. By far the most enjoyable gig of 2012 so far.

THE LONG COUNT (London Barbican, 04/02/12)



There was no way a "multimedia concert" about the Mayan creation myth wasn’t going to be pretentious, but all things considered, this was a dramatic, intense and at times breathtakingly epic work from the Brothers Dessner. Tunde Adebimpe was the star of the show, his rumbling baritone eerily reminiscent of Matt Berninger at times, but My Brighest Diamond and Kelley Deal also impressed in their role as Mayan goddesses. Bit expensive for 75 minutes though.

(Photo: John Gleeson)

WILD FLAG (London Electric Ballroom, 01/02/12)



Scientific fact: Carrie Brownstein is better than you. And if all the new material is as good as the stuff they previewed tonight, she has scope to kick your ass even more.

(Photo: Jason Williamson)

LAURA VEIRS (London Queen Elizabeth Hall, 30/01/12)



Cute, but not really my thing.

(Photo: John Gleeson)

THE DO (London Bush Hall, 26/01/12)



Genre-bending Parisian pop par excellence, from one of the most talented bands in the business.

(Photo: We Love Fairground)

RADICAL FACE (London Lexington, 23/01/12)



Ben Cooper may look like the drummer in a metal band, but his delicately beautiful folk balladry is up there with Bon Iver for stirring the old heartstrings. His drummer also has some mad yo-yo skillz. An excellent start to what promises to be another great year of shows.

(Photo: Jacob Gaitan)

THE BEST LIVE ACTS OF TWO THOUSAND AND ELEVEN



Only 81 shows last year. I'm a disgrace to my younger self.

30. I BREAK HORSES- London Cargo
Three shows into their career, and the Swedish shoegazers sound more accomplished than bands with years of experience under their belt. Perhaps they lose their way mid-set with a surfeit of amelodic noodling, but when they hit the mark, they hit it hard. I predict a bright future.

29. THE NATIONAL- Eindhoven Fritz Philips
Half the tracks off “High Violet” may sound like uninspired mash-ups of older, better National songs, but they’re still an force to be reckoned with live. I’ll never tire of hearing “Apartment Story” or watching Matt Berninger clambering over the audience during “Mr November”, and the unplugged sing-along of “Vanderlyle Crybaby Geeks” (with added Owen Pallett) was a memorable closer to the best one-day festival I’ve ever attended.

28. DEERHOOF- London Garage
Angular funk-laden basslines, star-jumps, blistering jazz drumming, painfully awkward banter, PANDA-PANDA-PANDA-PANDA-PAN-PANDA. Yup, another year, another Deerhoof appearance in my Best Gigs list. Live with it.

27. WYE OAK- London Water Rats
Their monicker may give the impression they’re beardy folkie types, but don’t worry; though acoustic guitars do enter the equation, there’s nary an earnestly crooned cliche in sight. Equally as home with scintillating rock-outs as much as subtle atmospherics, Wye Oak are Americana with edge.

26. TU FAWNING- London Hoxton Bar & Kitchen
To quote my TLOBF review: “At heart, their music can be broadly defined as indie-pop underpinned with a gothic aesthetic, but there’s more to them than that. At times, they sound like a vaudeville Menomena; clattering percussion and jagged, staccato guitar lines, married to a manic, brassy energy that’s one part New Orleans marching band, one part Man Man.” So there you go.



25. tUnE-YaRdS- London Scala
To be honest, I think the new band distracts from Merrill Garbus’ idiosyncratic brilliance, but then again, she could have Nickleback backing her and that wouldn’t make that high note at the end of “Powa” any less tremendous. Not as stellar as 2010’s Cargo show, but then again, few things are.

24. PETER BJORN AND JOHN- London Old Blue Last
Jetlagged to buggery, and clearly wanting to be anywhere but a sweaty East London pub, Peter Bjorn and John drew upon their simmering rage to put on a ferocious, punchy set that far eclipsed any previous time I’d seen them. And they didn’t even play That Song. An unexpected treat.

23. ARCADE FIRE- Warsaw Torwar Arena
I’m not the zealous fanboy I used to be, but if I ever tire of “Tunnels” or “Wake Up”, I don’t want to live any more.

22. BRAIDS- London XOYO
The dreadfulness of XOYO ultimately got the better of them, but the first half of Braids’ set verged on divine. If Animal Collective had a female vocalist and weren’t utterly bobbins live, they might sound a bit like this.

21. AND SO I WATCH YOU FROM AFAR- London HMV Forum
The Norn Iron band are often shoehorned into the “post-rock” genre, but that label insufficiently conveys the orgy of math-rock rhythms, blistering guitar pyrotechnics and grade-A badassery they actually deliver. Blinding stuff, shame their name makes them sound proper emo.



20. ST VINCENT- London Queen Elizabeth Hall
Despite a very shaky start, this turned out to be one of the better shows I’ve seen from Annie Clark. To be honest, I’m bound to endorse anyone who runs into the audience, randomly collapses into people’s laps and screaming “MOTHERFUCKER” at the top of her lungs whilst shredding her guitar to buggery, but the rest of the show wasn’t too shabby either.

19. OLAFUR ARNALDS- London Tabernacle
For a country whose population equals that of Leicester, Iceland sure produces more than its fair share of geniuses. Olafur Arnalds isn’t quite in the Bjork/Sigur Ros league (yet), but his cinematic instrumentals rival World’s End Girlfriend in their heart-stirring intensity.

18. MATT & KIM- London Garage
One plays keyboards and talks a bit too much; the other enthusiastically hits things with drumsticks and, to quote her always-flattering bandmate, has “the mouth of a 6 year old sailor and the body of a 12 year old boy”. Unpretentious, hyperactive synth-pop par excellence, guaranteed to make any venue descend into a sweatpit by the third song.

17. O’ DEATH- London Cargo
Apocalyptic Appalachian bluegrass delivered with near-religious fervour by wild eyed, bearded mentalists. Gogol Bordello meets Deliverance, essentially.

16. BORIS- London ULU
From abrasive, Melt-Banana-esque noise interludes, to Melvins-ish sludge-rock, all the way to disco-infused power-pop, the veteran Japanese rockers combine a tremendous degree of musical versatility with earth-splintering loudness and a massive fuck-off gong.



15. SUUNS- Brussels Botanique
Suuns' whispered vocals don't do that much for me, but their tight Holy Fuck/!!!-esque grooves and punchy Wolf Parade synths make them the best live band to come out of Montreal since Handsome Furs.

14. HANDSOME FURS- London Hoxton Bar & Kitchen
…and on the subject of Handsome Furs, I’m glad to report Dan Boeckner and Alexei Perry remain the most adorable couple in music. As vibrant and energetic as ever, they’re also aided by some stellar new material, including the exhilarating anthemics of “Serve The People.”

13. JENS LEKMAN- London Nettlefold Hall
Trekking over from Gothenburg to play a charity fundraiser for Lambeth Libraries, Jens’ solo set was even more enchanting than his full band show the previous year. His reliance on backing tapes wasn't ideal, but the stripped down arrangements served to focus attention on his impressive vocal talents, and the Sipping On The Sweet Nectar-centric dance party encore was great fun.

12. CONGOTRONICS vs. ROCKERS- London Barbican
A wonderful, groove-laden collaboration between some of the most talented names in western and African music, albeit one very much dominated by the latter. I mean, sure, Greg Saunier’s jazz drumming is always dazzling to behold, but at the end of the day he and his fellow Westerners were simply outclassed by the likembes, car-part percussion and breathtaking vocal harmonies of Konono No 1 and the Kasai All-Stars. They even got the prim and proper audience at the Barbican to get out of their seats and dance, a minor miracle in itself.

11. GIRL TALK- Primavera Festival, Barcelona
Purists would argue mash-up king Greg Gillis isn’t a musician at all, but when it’s 5am, you’re drunk and surrounded by people in a similar state of mind, splicing the greatest hits of the last fifty years with contemporary rap is exactly what you need.



10. SCREAMING FEMALES- London Lexington
Marissa Pasternoster may seem like an unlikely guitar hero with her conservative dress-sense, miniscule stature and unassuming demeanour, but man, she can sure rock the hell out with the best of them. If the Thermals sounded less like Green Day and more like Dinosaur Jr (with hints of Sleater-Kinney and the Yeah Yeah Yeahs), they’d probably sound somewhat like this.



9. YNDI HALDA- London Lexington
Epic, raw instrumentals providing visceral, rafter-shaking thrills without skimping on depth or beauty, Yndi Halda are the band Hope of the States should have been. The best band in Britain right now.



8. I’M FROM BARCELONA- London Tabernacle
They’re still not from Barcelona. There’s still roughly fifteen thousand of them. They’re still one of the most all-out joyous bands out there.



7. MERCURY REV- Primavera Festival, Barcelona
Opus 40 at sunset. Enough said.



6. PULP- Primavera Festival, Barcelona
I was ten rows from the front when they played Common People. I don’t think I’ve recovered.



5. DUSTIN WONG- London Lexington
One man, one guitar, 45 minutes of unalloyed delight. Ponytail may be no more, but their kaleidoscopic melodies and tropical-tinged vibrancy remains alive through their guitarist’s breathtaking solo project. I can’t overstate how talented this guy is; if there’s only one act from this list you check out, make it Dustin Wong.



4. EDWARD SHARPE AND THE MAGNETIC ZEROES- London Old Vic Tunnels
Knives are thrown at innocent members of the crowd, gymnasts gyrated on ropes to the strains of “Duelling Banjos”, puppets are dramatically claimed by Death, the sun is worshipped in melodramatic fashion and zombie harlots shuffle around the bar in sinister fashion - and that’s before the show’s even started. Edward Sharpe and his Magnetic Zeros did an amazing job transforming the tunnels under Waterloo Station into a skewed recreation of the Wild West, but ultimately, it’s the music that matters, and they didn’t fail in that respect either. Joyous from start to finish, their unpretentious countrified sing-alongs may lack sophistication, but damn, if you left without a huge grin on your face, you ain’t got no soul.



3. EFTERKLANG- Eindhoven Fritz Philips
If this performance is anything to go by, every band should be accompanied by a 10-piece jazz orchestra by law. The Danish septet’s ethereal beauty was magnified tenfold by the brassier arrangements, and “Modern Drift”, complete with an extended jazz outro performed whilst marching through the audience was one of the best things I’ve ever seen. Glorious.



2. DAN DEACON- London Bussey Building
I got to hold the Trippy Green Skull aloft during “Wham City”. Actual life highlight, right there.



1. SUFJAN STEVENS- Copenhagen Vega
Sufjan’s most recent full-length offering Age of Adz represented a rather startling departure from his previous work. Gone are the banjos and alt-folk sensibilities of old; replaced by a chaotic, cacophonic odyssey of electronica, vocodered vocals and the subtlety of a bull covered with strobe lights. It’s a glorious, ridiculous mess of an album, demanding a suitably insane live show to do it justice - and luckily, that’s exactly what we got. Extrapolating the grandiose technicolour vision of the new album to every element of the performance, Sufjan’s live set-up gave the Flaming Lips a run for the money for eye-popping extravagance – psychedelic projections, dancers, angel wings, confetti, a surplus of neon face paint and at one point a costume incorporating a spinning mirror ball.

But in contrast to the Lips, there’s no undue reliance of backing tapes. As stunningly immersive as the visuals are, it’s the band that ultimately make the show – from the majestic swell of brass during ‘Seven Swans’ to the intense choral chanting of ‘I Want To Be Well,’ the eleven musicians delivered everything from spectral harmonies to high-energy disco with impeccable skill and vitality. ‘Vesuvius’ was a personal highlight, but there is nary a song in the entire two-and-a-half hour set that sounds less than astounding.

Stupidly, breathtakingly, self-indulgently, sublimely brilliant, Sufjan Stevens raised the bar for what a live show should be.

Photo Credits:

Marc Lindsay-Scott (I Break Horses)
David Emery (tUnE-YaRdS)
John Gleeson (St. Vincent, I'm From Barcelona, Pulp, Sufjan Stevens)
Bourgol (Suuns)
Magic Photography (Screaming Females)
Oz Villanueva (Mercury Rev)
Shanda Boyett (Dustin Wong)
Kelly Anne (Edward Sharpe)
Vince Kmeron (Efterklang)
Tim Boddy/The 405 (Dan Deacon)

MR HEAVENLY (London Cargo, 12/12/11)



In summary: Honus Honus hollered and hammered his keyboard like a badass. Nick Thorburn shredded on guitar and said weird things. The guy from Modest Mouse looked like Jamie Summers of ATP fame. Michael Cera was Michael Cera. Fun was had by all.

I BREAK HORSES (London Cargo, 05/12/11)



The main thing that strikes you about I Break Horses’ live show is how accomplished it all is. Tonight’s London performance is their third ever, but there’s a notable lack of amateurishness; the band are tight, the visuals are striking and the arrangements, although lacking in brevity, recreate the shoegaze-y atmospherics of the album well. Sure, the mix isn’t always favourable and there’s too much aimless filler, but when they hit their stride, you just know that in a few months time they're going to be something really special.

(Photo: Marc Lindsay-Scott)

STARFUCKER (London Madame JoJo’s, 29/11/11)



Their name may change every other day (STRFCKR? Pyramid? PYRAMIDDD?), but at least the tunes are consistent in their awesomeness. Tonight their glam-tinged electro-pop was ill-served by a series of technical hitches, but, man, they still deliver grade-A technicolour disco-camp like few others.

ST VINCENT (London Queen Elizabeth Hall, 10/11/11)



Over the years, I’ve seen Annie Clark a number of times; twice she’s been brilliant, twice dreadful (with one other show falling somewhere in between). For the first two songs, I genuinely feared tonight's show would fall into the latter camp, with an atrocious, bassy mix decimating the 80’s-tastic brilliance of “Surgeon,” the best song off her new album. But things rapidly improved, with an stellar “Cruel”, a beautifully brutal Pop Group cover (complete with Mark Stewart strutting around and screaming like a madman) and a beastly rendition of old favourite “Marrow.” I sometimes think that her experimentation with loops and pedals leads to performances easier to admire than enjoy, but tonight she got the balance between the accessible and the avant-garde just right. Plus, she stormed into the audience repeatedly screaming “MOTHERFUCKER” at the top of her lungs, shredding wildly on her guitar and falling into the laps of certain (bloody lucky) audience members, a practice I always approve of.

(Photo: John Gleeson)

BRAIDS (London XOYO, 09/11/11)



XOYO may be the second worst gig venue in the whole of London (after Proud Galleries, a den of such unspeakable dreadfulness that it may, in itself, constitute a whole new circle of Hell), but not even its crap acoustics, lack of air conditioning, ill-placed pillars and clientele straight out of “Being A Dickhead’s Cool” could ruin the blissful majesty of Braids. I’ve been a fan since first hearing “Liver And Tan” back in 2009, and although their set was rather front-loaded, their lush, synth-driven pop (think a chilled out, female-fronted Alvin Band) ticked all the right boxes for me. Hope to see them back soon- but in a less relentlessly shit venue.

DUSTIN WONG (London Old Blue Last, 02/11/11)



Ex-Ponytail guitarist brings his kaleidoscopic, tropic-tinged guitar-looping brilliance to London once again. Perhaps a little more reined-in than his joyous show at the Lexington, but still a marvel to behold.

(Photo: Shanda Boyett)

TWIN SISTER (London Garage, 25/10/11)



Despite Twin Sister devolving between their EPs and their debut from one of the most promising young bands around to sub-M83 retro enthusiasts, this show wasn’t the disaster it could have been. Started off a bit ropey with out-of-tune vocals and a run of weak material, but things massively improved once they got into full-on 80’s funk-odyssey mode. Not a patch on last November’s Lexington show, but at least the gorgeous sleepy-eyed groove of “I Want A House” remains as mesmerising as ever.

(Photo: Anika Mottershaw)

THE JOY FORMIDABLE (London HMV Forum, 14/10/11)



Review: HERE

(Photo: Marc Lindsay-Scott)

ELEANOR FRIEDBURGER (London Netil House, 29/09/11)



Given poptastic synths are a major part of the charm of the Fiery Furnaces’ frontwoman’s solo album, I wasn’t sure how much I was going to enjoy this stipped-down set in the deepest, darkest depths of East London. But Friedburger’s got a understated, idiosyncratic charm which allows her to carry off the whole “singer with acoustic guitar” schtick, resulting in a thoroughly agreeable performance that held my attention from start to finish.

(Photo: NME)

I’M FROM BARCELONA (London Tabernacle, 20/09/11)



After a two year absence from these shores, I’m delightful to confirm the Swedish joy Collective retain their crown as the Most Fun Live Band In The World Ever. Their charming low budget take on the Flaming Lips (Balloons! Confetti! Co-ordinated singalongs!) is even more welcome now the real Flips have steadily succumbed to unbearable pretention, and it’s easy to forget how many insanely catchy tunes they have under their belt. New songs such as “The Game Is On” segue seamlessly into old classics, and Emmanuel remains one of the most likeable frontmen in music. I’m not a naturally religious man, but if I’m From Barcelona were a cult, I’d sign up without a second thought.

(Photo: John Gleeson)

HANDSOME FURS (London Hoxton Bar and Kitchen, 13/09/11)



The most electrifyingly passionate musical duo around return to London for the second time this year, producing a show not too dissimilar to their Lexington triumph but none the worse for that. Their energy and obvious love for each other never fails to endear, and “Serve The People” remains an absolute stone-cold beast of a song – although the demise of Wolf Parade will forever sadden me, it’s good to see its constituent members remain a force to be reckoned with.

(Photo: John Gleeson)

MAN MAN (London Cargo, 12/09/11)



Despite the world’s longest and most tiresome soundcheck pushing this performance an hour later than expected, it’s good to see everyone’s favourite vaudeville maniacs back on these shores. The first few songs were a bit underwhelming, mostly due to sub-par mixing but once they got into their stride, they were pretty amazing. Honus Honus seems to be channelling Tom Waits even more these days, and although “Black Mission Goggles” was sadly missed, there’s no beating the beautifully wistful, whisky-soaked singalong of “Van Helsing Boombox”.

(Photo: Rob Hakimian)

SCREAMING FEMALES (London Lexington, 09/09/11)



It’s been a while since a band I’ve known nothing about have blown me away with such panache as Screaming Females. Marissa Pasternoster may seem like an unlikely guitar hero with her conservative dress-sense, miniscule stature and unassuming demeanour, but man, she can sure rock the hell out with the best of them. If the Thermals sounded less like Green Day and more like Dinosaur Jr (with hints of Sleater-Kinney and the Yeah Yeah Yeahs), they might sound as good as this. One of the most enjoyable performances I’ve seen this year.

(Photo: Kimberly Powenski)

PULP (London Brixton Academy, 31/08/11 & 01/09/11)



Let’s be honest, Pulp aren’t the greatest live band on earth. Their musicianship is adequate; their visuals par-for-the-course, their energy nothing out of the ordinary. But when you got some of the best songs ever written under your belt, and the charisma powerhouse that is Jarvis Cocker , that doesn’t matter one bit. Great to see they’ve added more pre-His ‘n Hers and post-Different Class songs to the setlists, and of course there’s no greater singalong on Earth than Common People. Fantastically good fun.

(Photo: Mark Reed)