Franz Ferdinand. 150 capacity venue. Matinee, Do You Want To, Michael, Ulysses, and some very promising new tracks. All fans, no guestlist wankers. Bloody. Brilliant.
Saturday, August 03, 2013
GOAT (London Electric Ballroom, 27/06/13)
Tribal rhythms and mighty riffs from pseudo-mystical Swedes with the best costumes this side of a Lordi show. They were superb (as were Teeth of the Sea), but the hipsterish, “oh-look-at-me-I'm-too-cool-to-express-any-emotion-but-disdain” audience...not so much.
THE NATIONAL (London Roundhouse, 26/06/13)
In contrast to popular opinion, I've not been that much of the fan of the last two National abums, believing them to be pale retreads of “Boxer” and “Alligator”. That said, this was the best show of theirs I've seen in years. Maybe it was the visuals, maybe it was the soundmix, but for once I found myself actually enjoying the non-Bloodbuzz material from High Violet, and of course I'll never tire of hearing “Fake Empire,” “Abel” and “Apartment Story” live. Local Natives were also pretty impressive in support- always wrote them off as a vapid hype band, but them kids have some decent musical chops. Top stuff.
(Photo: Fiona Petch)
(Photo: Fiona Petch)
PATTI SMITH (London Shepherd's Bush Empire, 19/06/13)
Review: HERE
(Photo: Burak Cingi/The Line of Best Fit))
Review: HERE
(Photo: Burak Cingi/The Line of Best Fit))
BRUCE SPRINGSTEEN (London Wembley Stadium, 15/06/13)
Now I understand why he's called the Boss. For years, I'd ignored Springsteen due to a distaste for “Born In The USA” and his reputation for over-earnest cheesiness, but I've come to realise my terrible error. For this three hour show plus at Wembley Stadium was truly worthy of the epithet “epic,” a showcase of quality songwriting, peerless musicianship and the all-consuming charisma of Bruce. His tricks and gimmicks may be well practiced (the placards, the back-to-back runthrough of an entire album, the getting a child up to sing on stage), but they're so effective they feel spontaneous and natural. Jake Clemons has taken up his legendary uncle's mantle with aplomb - although they didn't play Jungleland (the sole disappointment of the night), he absolutely killed the solo of “Born To Run”- and the rest of the E-Street Band were tight as fuck despite the partly-unplanned setlist and the sheer length of the show (31 songs!) Doubtlessly the gig of the year, and one that made me sincerely regret not checking him out sooner.
(Photo: petereduk)
(Photo: petereduk)
Saturday, June 15, 2013
THE STONE ROSES (London Finsbury Park, 08/06/13)
I've always thought there's been a bit of Pitchfork revisionism around The Stone Roses. Yes, Ian Brown couldn't hit a note if his life depended on it; yes,“The Second Coming” is a very uneven album; yes, there is a distinct air of “aggressive neanderthalism” that surrounds a proportion of their fanbase, but goddamn, if they didn't write some fantastic songs in their time. This wasn't an masterclass in performance by any means, but I'd forgotten what a tight musical unit Squire, Mani and Reni were, and any quibbles about Ian Brown's tunelessness were moot as you couldn't hear him over the audience. “Made of Stone” was my (surprise) highlight of the night, but “Fools' Gold's” irresistably aggressive funkiness and the closing double-whammy of “Breaking Into Heaven” and “I Am The Resurrection” (be still, my 16 year old heart) all contributed to a show that flicked all the nostalgia switches, whilst providing a much-needed reminder that under the bullshit and swagger, the Stone Roses were actually pretty special.
I've always thought there's been a bit of Pitchfork revisionism around The Stone Roses. Yes, Ian Brown couldn't hit a note if his life depended on it; yes,“The Second Coming” is a very uneven album; yes, there is a distinct air of “aggressive neanderthalism” that surrounds a proportion of their fanbase, but goddamn, if they didn't write some fantastic songs in their time. This wasn't an masterclass in performance by any means, but I'd forgotten what a tight musical unit Squire, Mani and Reni were, and any quibbles about Ian Brown's tunelessness were moot as you couldn't hear him over the audience. “Made of Stone” was my (surprise) highlight of the night, but “Fools' Gold's” irresistably aggressive funkiness and the closing double-whammy of “Breaking Into Heaven” and “I Am The Resurrection” (be still, my 16 year old heart) all contributed to a show that flicked all the nostalgia switches, whilst providing a much-needed reminder that under the bullshit and swagger, the Stone Roses were actually pretty special.
CAMERA OBSCURA (London Heaven, 06/06/13)
Camera Obscura have never been an epoch-defining live act, but they've not needed to be. Tonight isn't exactly the best performance I've ever seen, but with a strong new album to showcase, interspersed with the glorious Northern Soul stylings of “French Navy” and “Lloyd, I'm Ready To Be Heartbroken,” there's also very little to complain about.
Camera Obscura have never been an epoch-defining live act, but they've not needed to be. Tonight isn't exactly the best performance I've ever seen, but with a strong new album to showcase, interspersed with the glorious Northern Soul stylings of “French Navy” and “Lloyd, I'm Ready To Be Heartbroken,” there's also very little to complain about.
OLAFUR ARNALDS (London St John's-In-Hackney Church 03/06/13)
I can only presume Icelandic children must be taught to compose ethereal soundscapes as part of their national curriculum, for how else can a country with a population roughly the size of Watford produce so much wonderful music? This was far from the best Olafur Arnalds show I've seen, with technical problems galore and echoey sound (at least where I was standing), but it had enough moments of majestic beauty to make the trek to the Far North East (of London) worth it.
I can only presume Icelandic children must be taught to compose ethereal soundscapes as part of their national curriculum, for how else can a country with a population roughly the size of Watford produce so much wonderful music? This was far from the best Olafur Arnalds show I've seen, with technical problems galore and echoey sound (at least where I was standing), but it had enough moments of majestic beauty to make the trek to the Far North East (of London) worth it.
Saturday, June 01, 2013
TITUS ANDRONICUS (Leeds Brudenell Social Club, 27/05/13)
Patrick Stickles sans beard may be a perplexing, nay, frightening notion, but fear not, his clean-shavenness has not had a Samson-esque effect on his shouting abilities. Even though this set largely centered on Titus Andronicus' so-so third album “Local Business”, it remained an absolute riot thanks to the Pogues-y vitality of the band, the fervent enthusiasm of their fans, and Stickles' constant, near-feral wildness. Plus, any gig that incorporates both “Killing In The Name Of” AND “Battle of Hampton Roads” is, by law, automatically going to be one of my shows of the year.
(Photo: Manchester Scenewipe)
Patrick Stickles sans beard may be a perplexing, nay, frightening notion, but fear not, his clean-shavenness has not had a Samson-esque effect on his shouting abilities. Even though this set largely centered on Titus Andronicus' so-so third album “Local Business”, it remained an absolute riot thanks to the Pogues-y vitality of the band, the fervent enthusiasm of their fans, and Stickles' constant, near-feral wildness. Plus, any gig that incorporates both “Killing In The Name Of” AND “Battle of Hampton Roads” is, by law, automatically going to be one of my shows of the year.
(Photo: Manchester Scenewipe)
SARAH NEUFELD (London Bush Hall, 26/05/13)
An intimate, experimental and beautiful solo performance from the Arcade Fire violinist. In many ways, it reminded me of the work of her saxophonist boyfriend Colin Stetson- unafraid to draw the most unusual sounds out of their instrument, whilst remaining accessible even to a cultural philistine like me. A most sophisticated way to spend a Sunday evening.
An intimate, experimental and beautiful solo performance from the Arcade Fire violinist. In many ways, it reminded me of the work of her saxophonist boyfriend Colin Stetson- unafraid to draw the most unusual sounds out of their instrument, whilst remaining accessible even to a cultural philistine like me. A most sophisticated way to spend a Sunday evening.
JEFFREY LEWIS & PETER STAMPFEL (Brixton Windmill, 23/05/13)
It's been three years since I last saw Jeff Lewis, and I'm not entirely sure why. Combining forces with wonderfully eccentric 74-year old ex-hippy Peter Stampfel, this show deftly incorporated material from their joint album (highlight: the peerlessly titled “Do You Know Who I Am, I'm Fucking Snooki”), energetic takes on classic tunes (well, “Surfin' Bird” at least) and of course, Jeff's gloriously rendered flipboard “movies” (not suitable for under-18's or people averse to bird-on-nerd sexual proclivities.) And what an absolute blast it was too.
It's been three years since I last saw Jeff Lewis, and I'm not entirely sure why. Combining forces with wonderfully eccentric 74-year old ex-hippy Peter Stampfel, this show deftly incorporated material from their joint album (highlight: the peerlessly titled “Do You Know Who I Am, I'm Fucking Snooki”), energetic takes on classic tunes (well, “Surfin' Bird” at least) and of course, Jeff's gloriously rendered flipboard “movies” (not suitable for under-18's or people averse to bird-on-nerd sexual proclivities.) And what an absolute blast it was too.
THE POSTAL SERVICE (Brixton Academy, 20/05/13)
Oh Ben Gibbard. Just because you split from Zooey Deschanel, it doesn't give you the excuse to dance like a drunken dad at a wedding party. That aside, this long-awaited reunion of the indietronic emos was at best a satisfactory affair, a perfunctorily run through the hits which really ever engaged the emotions. Decidedly meh.
(Photo: John Gleeson)
Oh Ben Gibbard. Just because you split from Zooey Deschanel, it doesn't give you the excuse to dance like a drunken dad at a wedding party. That aside, this long-awaited reunion of the indietronic emos was at best a satisfactory affair, a perfunctorily run through the hits which really ever engaged the emotions. Decidedly meh.(Photo: John Gleeson)
CELEBRATION (London Waiting Room, 19/05/13)
Not quite as much of a celebration as I'd hoped, alas. I'd been looking forward to seeing the joyfully eclectic Baltimore band for years, and whilst they didn't disappoint, they did seem somewhat fatigued from a rather intense spate of touring. Still, Katrina Ford has one hell of a voice, and I hope the shamefully small audience doesn't put them off from returning to the UK in the near future.
Not quite as much of a celebration as I'd hoped, alas. I'd been looking forward to seeing the joyfully eclectic Baltimore band for years, and whilst they didn't disappoint, they did seem somewhat fatigued from a rather intense spate of touring. Still, Katrina Ford has one hell of a voice, and I hope the shamefully small audience doesn't put them off from returning to the UK in the near future.
Monday, May 13, 2013
KISHI BASHI (London Lexington, 10/05/13)
Owen Pallett and Andrew Bird, step aside - a new contender for King of the Violin Loopers has emerged. K. Ishibashi's fiddle playing might not be quite as technically astounding as his more established peers, but his mixture of deliriously joyful orchestral pop, beatboxing and improv is so damn wonderful, it simply doesn't matter.
Owen Pallett and Andrew Bird, step aside - a new contender for King of the Violin Loopers has emerged. K. Ishibashi's fiddle playing might not be quite as technically astounding as his more established peers, but his mixture of deliriously joyful orchestral pop, beatboxing and improv is so damn wonderful, it simply doesn't matter.
THE KNIFE (London Roundhouse, 09/05/13)
For years, The Knife had resided near the top of my bucket list of bands I want to see before I die, but having read recent reviews of their “Shaking The Habitual Tour”, I'd tempered my expectations quite dramatically. “Worst show ever”, said some. “A sixth form liberal arts performance,” said others. “Riverdance for cunts,” exclaimed one particularly forthright member of the Twitterati. And you know what- I can understand those points of view. It wasn't a live gig as such. It was a bunch of people in shiny costumes, dancing to mostly prerecorded backing tracks, with some pretty funky lighting. And I enjoyed it greatly.
If I'd been standing further back, or hadn't been previously aware of the “unique” nature of the show, I might have had a significantly more negative opinion. But near the barrier, the sound was crisp, clear and loud, the visuals mesmerising (if not as innovative as the Knife think they are), and the atmosphere was decent enough for a London crowd. It had a fair few flaws- it's a shame they didn't make more use of the cool instruments they employed for the first few songs, there's no real excuse for the lack of live vocals, some bits were inarguably lame (when the band left the stage for ten minutes leaving nothing but the backing track, the choreography for “Full of Fire” and the song that immediately followed) and overall, it probably wasn't worth the £30 asking price. But when you're faced with the full might of “Silent Shout” blasting at a gazillion decibels with SPINNING RAINBOW LASERS encompassing their entirety of your vision, its possible to forgive The Knife pretty much anything.
For years, The Knife had resided near the top of my bucket list of bands I want to see before I die, but having read recent reviews of their “Shaking The Habitual Tour”, I'd tempered my expectations quite dramatically. “Worst show ever”, said some. “A sixth form liberal arts performance,” said others. “Riverdance for cunts,” exclaimed one particularly forthright member of the Twitterati. And you know what- I can understand those points of view. It wasn't a live gig as such. It was a bunch of people in shiny costumes, dancing to mostly prerecorded backing tracks, with some pretty funky lighting. And I enjoyed it greatly.
If I'd been standing further back, or hadn't been previously aware of the “unique” nature of the show, I might have had a significantly more negative opinion. But near the barrier, the sound was crisp, clear and loud, the visuals mesmerising (if not as innovative as the Knife think they are), and the atmosphere was decent enough for a London crowd. It had a fair few flaws- it's a shame they didn't make more use of the cool instruments they employed for the first few songs, there's no real excuse for the lack of live vocals, some bits were inarguably lame (when the band left the stage for ten minutes leaving nothing but the backing track, the choreography for “Full of Fire” and the song that immediately followed) and overall, it probably wasn't worth the £30 asking price. But when you're faced with the full might of “Silent Shout” blasting at a gazillion decibels with SPINNING RAINBOW LASERS encompassing their entirety of your vision, its possible to forgive The Knife pretty much anything.
PARENTHETICAL GIRLS (London Lexington, 06/05/13)
From their albums, one might be forgiven for thinking Parenthetical Girls would be prissy, reserved live performers. In reality, they're the complete opposite. Zac Pennington struts around the stage, off the stage, on the sound deck and the bar like a camp American Jarvis Cocker. Old songs are given livelier, more muscular arrangements without compromising their beauty. People actually dance a little rather than sagely stroking their beards or crossing their arms in an “I'm too cool to be impressed” manner. It's all really rather excellent.
From their albums, one might be forgiven for thinking Parenthetical Girls would be prissy, reserved live performers. In reality, they're the complete opposite. Zac Pennington struts around the stage, off the stage, on the sound deck and the bar like a camp American Jarvis Cocker. Old songs are given livelier, more muscular arrangements without compromising their beauty. People actually dance a little rather than sagely stroking their beards or crossing their arms in an “I'm too cool to be impressed” manner. It's all really rather excellent.
CHILLY GONZALES (London Cadogan Hall, 30/04/13)
Part recital, part lecture on musical theory, all masterclass of showmanship, Chilly Gonzales proved that solo piano performances can be technically dazzling, innovative, educational and a hell of a lot of fun all at the same time. It's hard to sum up all the genius moments of this show – the understated but clever visuals, the well-judged and hilarious moments of audience participation, his fascinating and deeply-informed talks on subjects like the emotional appeal of arpeggios (referencing Frere Jacques, Glenn Miller and Daft Punk)- but the greatest thing about it is that it all served to augment, rather than distract from, the quality of his own musical talents. A evening of genuine brilliance.
(Photo: Jason Williamson (The Line Of Best Fit))
Part recital, part lecture on musical theory, all masterclass of showmanship, Chilly Gonzales proved that solo piano performances can be technically dazzling, innovative, educational and a hell of a lot of fun all at the same time. It's hard to sum up all the genius moments of this show – the understated but clever visuals, the well-judged and hilarious moments of audience participation, his fascinating and deeply-informed talks on subjects like the emotional appeal of arpeggios (referencing Frere Jacques, Glenn Miller and Daft Punk)- but the greatest thing about it is that it all served to augment, rather than distract from, the quality of his own musical talents. A evening of genuine brilliance.
(Photo: Jason Williamson (The Line Of Best Fit))
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