Sunday, November 09, 2014
KATE BUSH (London Hammersmith Apollo, 05/09/14)
So many words have been expended on Kate Bush's comeback shows that I feel that I'm somewhat shouting into the the ether at this point, but I will say it was a spectacle of a type you sadly rarely see these days (albeit a slightly overlong one that was a bit too reliant on the questionable vocal talents of her son) and a fittingly batshit, yet gloriously imaginative summary of one of Britain's most brilliant and eccentric talents. Only she could have carried it off, and although it was far from "the best show ever" for me, I definitely feel I got my money's worth.
RAW POWER FESTIVAL (London Tufnell Park Dome, 30/08/14-31/08/14)
All credit to prolific London gig promoter Anthony Chalmers, this was the best London music festival I've ever attended. Sensibly priced? Check. Catastrophically loud sound levels? Oh yeah. A superb roster of bands, including Acid Mothers Temple (playing the most awesome version of Pink Lady Lemonade you ever will hear), Bo Ningen (instigating a mosh pit which resulted in at least one bleeding nose), AXES, AK/DK, Evil Blizzard, Teeth of the Sea and Flamingods? Damn right. Fingers crossed it returns next year, although it may be wise for me to invest in some earplugs in the meantime...
All credit to prolific London gig promoter Anthony Chalmers, this was the best London music festival I've ever attended. Sensibly priced? Check. Catastrophically loud sound levels? Oh yeah. A superb roster of bands, including Acid Mothers Temple (playing the most awesome version of Pink Lady Lemonade you ever will hear), Bo Ningen (instigating a mosh pit which resulted in at least one bleeding nose), AXES, AK/DK, Evil Blizzard, Teeth of the Sea and Flamingods? Damn right. Fingers crossed it returns next year, although it may be wise for me to invest in some earplugs in the meantime...
Thursday, August 28, 2014
DANIEL ROSSEN (London Union Chapel, 26/08/14)
Although I still await the day I finally get to see a fully-fledged Department of Eagles show, this gorgeous solo performance from my favourite Grizzle Bizzle member went some way to fulfilling my dream, featuring as it did some of the best tracks from his 2008 masterpiece "In Ear Park," as well as an excellent Townes Van Zandt cover, "Yellow House"-era GB tracks and some more recent material. As "man with an acoustic guitar" shows go, it was pretty excellent.
Although I still await the day I finally get to see a fully-fledged Department of Eagles show, this gorgeous solo performance from my favourite Grizzle Bizzle member went some way to fulfilling my dream, featuring as it did some of the best tracks from his 2008 masterpiece "In Ear Park," as well as an excellent Townes Van Zandt cover, "Yellow House"-era GB tracks and some more recent material. As "man with an acoustic guitar" shows go, it was pretty excellent.
OTHER LIVES (London XOYO, 19/08/14)
Beautiful, richly orchestrated indie-folk from a bunch of hairy Okies. Was feeling a bit ill throughout so didn’t fully engage (plus I can’t bring myself to truly enjoy a show at XOYO), but was pretty impressed by their musicianship nonetheless. Fans of Grizzly Bear and Wild Beasts will find a lot to love here.
NEKO CASE (London Union Chapel, 15/08/14)
Bit of a weird one, this. Severe technical issues meant that Union Chapel had to resort to a substandard rental PA, plus Neko and her band were obviously suffering from major tour fatigue which resulted in a show that, whilst still perfectly enjoyable, wasn’t as memorable as it should have been. That said, “Night Still Comes” was still bloody brilliant, and support act Jeffrey Lewis once again converted an initially ambivalent audience into fans of his erudite, politically conscious, frankly brilliant folk poetry.
CHILLY GONZALES (London Roundhouse, 29/07/14)
Chilly Gonzales has always been a fan of educating as well as entertaining his audiences, so a two-hour tutorial on basic piano and music theory is not as weird a concept as you may initially think. It truth, it’s not that much of a departure from last year’s Cadogan Hall show (although his crude but hilarious raps are less frequently showcased), but his witty and intelligent mix of compositional lectures, audience participation and recital remain as peerlessly engaging as ever.
Chilly Gonzales has always been a fan of educating as well as entertaining his audiences, so a two-hour tutorial on basic piano and music theory is not as weird a concept as you may initially think. It truth, it’s not that much of a departure from last year’s Cadogan Hall show (although his crude but hilarious raps are less frequently showcased), but his witty and intelligent mix of compositional lectures, audience participation and recital remain as peerlessly engaging as ever.
GEORGE CLINTON & PARLIAMENT/FUNKADELIC (London Kentish Town Forum, 26/07/14)
George Clinton’s lost the rainbow dreads, dyed his beard and dug out his sharp suits from Parliament’s 60’s heyday, but the Parliament/Funkadelic experience is still as anarchic, self-indulgent and utterly unique as ever. There’s no set list as such, just an endless medley conducted by whim by Clinton and that results in an extremely uneven, if colourful performance. But when they crack out the impassioned majesty of “Maggot Brain”, perhaps the greatest moment of solo guitar in musical history, it’s possible to forgive them pretty much anything.
George Clinton’s lost the rainbow dreads, dyed his beard and dug out his sharp suits from Parliament’s 60’s heyday, but the Parliament/Funkadelic experience is still as anarchic, self-indulgent and utterly unique as ever. There’s no set list as such, just an endless medley conducted by whim by Clinton and that results in an extremely uneven, if colourful performance. But when they crack out the impassioned majesty of “Maggot Brain”, perhaps the greatest moment of solo guitar in musical history, it’s possible to forgive them pretty much anything.
EELS (London Barbican, 24/07/14)
I’ve seen Mark “E” Everitt five occasions now, and each performance has been completely different from the last. From string-drenched classicalism, to gospel revivalism, to dour acoustic minimalism, to balls-to-the-wall rock and roll, it’s hard to predict where he’s going to take his live set-up next, even if the mode of his songwriting never changes all that radically. This time round, he’s gone for a Leonard Cohen vibe, all xylophone and tubular bells and richly orchestrated arrangements, which rather fits the more sober demeanour of the now fifty-something indie veteran. Sure, the set’s a little short not least because of the lack of trademark “surprise” encores, but at least there’s room for a shedload of classics – not least Last Stop This Town, 3 Speed, My Beloved Monster, It’s a Motherfucker and A Daisy Through Concrete. A most agreeable evening, in all.
I’ve seen Mark “E” Everitt five occasions now, and each performance has been completely different from the last. From string-drenched classicalism, to gospel revivalism, to dour acoustic minimalism, to balls-to-the-wall rock and roll, it’s hard to predict where he’s going to take his live set-up next, even if the mode of his songwriting never changes all that radically. This time round, he’s gone for a Leonard Cohen vibe, all xylophone and tubular bells and richly orchestrated arrangements, which rather fits the more sober demeanour of the now fifty-something indie veteran. Sure, the set’s a little short not least because of the lack of trademark “surprise” encores, but at least there’s room for a shedload of classics – not least Last Stop This Town, 3 Speed, My Beloved Monster, It’s a Motherfucker and A Daisy Through Concrete. A most agreeable evening, in all.
KING KHAN AND THE SHRINES (London Shoreditch Blues Kitchen, 11/07/14)
The punk-drenched lovechild of Sun Ra and James Brown, the riotous Canadian-Indian-German King Khan can make even the boho hellhole of modern-day Shoreditch seem like an appealing Friday night out. Lots of brass, lots of sweat, lots of fun.
The punk-drenched lovechild of Sun Ra and James Brown, the riotous Canadian-Indian-German King Khan can make even the boho hellhole of modern-day Shoreditch seem like an appealing Friday night out. Lots of brass, lots of sweat, lots of fun.
Thursday, July 10, 2014
ARCADE FIRE (London Hyde Park, 03/07/14)
The last Hyde Park show was, by some measure, the worst AF gig I've ever seen. The setlist was weird ("Wake Up" just didn't work as the second song), the sound was rubbish and the surfeit of Mumfordian terrorists chatting their way through proceedings made me want to set fire to a whole load of 16 year olds. But after a particularly uninspiring start, this wound up a damn sight better. No real surprises except "Crown of Love", but much fun was had and the finale of "Power Out", "Here Comes The Night-Time" and "Wake Up" was pretty much the epitome of how an encore should be done.
The last Hyde Park show was, by some measure, the worst AF gig I've ever seen. The setlist was weird ("Wake Up" just didn't work as the second song), the sound was rubbish and the surfeit of Mumfordian terrorists chatting their way through proceedings made me want to set fire to a whole load of 16 year olds. But after a particularly uninspiring start, this wound up a damn sight better. No real surprises except "Crown of Love", but much fun was had and the finale of "Power Out", "Here Comes The Night-Time" and "Wake Up" was pretty much the epitome of how an encore should be done.
STEVIE WONDER (London Clapham Common, 29/06/14)
The boy wonder turned elder statesman of soul may not be as sprightly as he used to be, but man, he's still one of the greatest songwriters ever to have graced this green Earth. Two and a half hours of hit after hit after hit (seriously: "Sir Duke"->"I Wish"->"Signed, Sealed, Delivered"->"You Are The Sunshine Of My Life"->"My Cherie Amour"), well judged covers in tribute to Bobby Womack and Gerry Goffin, self-deprecating jokes in a faux-South London accent and of course the song with the Funkiest Guitar Line In History (TM) to close. Perhaps a little less Jesus chat and a bit more "Misstra Know It All" wouldn't have gone amiss, but eh, he's Stevie Wonder- he can do whatever the hell he wants.
The boy wonder turned elder statesman of soul may not be as sprightly as he used to be, but man, he's still one of the greatest songwriters ever to have graced this green Earth. Two and a half hours of hit after hit after hit (seriously: "Sir Duke"->"I Wish"->"Signed, Sealed, Delivered"->"You Are The Sunshine Of My Life"->"My Cherie Amour"), well judged covers in tribute to Bobby Womack and Gerry Goffin, self-deprecating jokes in a faux-South London accent and of course the song with the Funkiest Guitar Line In History (TM) to close. Perhaps a little less Jesus chat and a bit more "Misstra Know It All" wouldn't have gone amiss, but eh, he's Stevie Wonder- he can do whatever the hell he wants.
LONNIE LISTON SMITH (London Jazz Cafe, 28/06/14)
The jazz-funk pioneer and former Miles Davis collaborator is 73 years of age, but time and fading eyesight hasn't dimmed his ability to play some damn funky keyboards. Some material heavily verged on the cheesy, but "Expansions" remains a bona fide, stone-cold classic of the genre.
The jazz-funk pioneer and former Miles Davis collaborator is 73 years of age, but time and fading eyesight hasn't dimmed his ability to play some damn funky keyboards. Some material heavily verged on the cheesy, but "Expansions" remains a bona fide, stone-cold classic of the genre.
DAPTONES SUPER SOUL REVUE (London Shepherd's Bush Empire, 27/06/14)
For soul of the old-school variety, you can't do much better than the Daptones label, and this showcase of their finest talent did not disappoint. Sharon Jones, recovered from cancer and more vivacious than ever and Antibalas with their energetic Afrobeat both put on excellent sets, but the night inevitably belonged to "The Screaming Eagle of Soul" Charles Bradley, a once-homeless sexagenerian reborn as an soul man with the voice of James Brown and the moves of a drunken uncle.
For soul of the old-school variety, you can't do much better than the Daptones label, and this showcase of their finest talent did not disappoint. Sharon Jones, recovered from cancer and more vivacious than ever and Antibalas with their energetic Afrobeat both put on excellent sets, but the night inevitably belonged to "The Screaming Eagle of Soul" Charles Bradley, a once-homeless sexagenerian reborn as an soul man with the voice of James Brown and the moves of a drunken uncle.
CAMDEN CRAWL (London Electric Ballroom/St Michael's Church, 21/06/14)
It's a shame this year's Camden Crawl ended in bankruptcy and acrimony, because for all its overambition, I had a hell of a lot of fun. The much-reduced, Greatest Hits toting incarnation of Of Montreal triggered mild anarchy at the front of the Electric Ballroom, antifolk messiah Jeff Lewis killed it with one of the sharpest and witty sets I've seen him do (his ode to British cuisine almost brought a tear to my eye...) and Au Revoir Simone and Haiku Salut bookended proceedings with sheer loveliness.
It's a shame this year's Camden Crawl ended in bankruptcy and acrimony, because for all its overambition, I had a hell of a lot of fun. The much-reduced, Greatest Hits toting incarnation of Of Montreal triggered mild anarchy at the front of the Electric Ballroom, antifolk messiah Jeff Lewis killed it with one of the sharpest and witty sets I've seen him do (his ode to British cuisine almost brought a tear to my eye...) and Au Revoir Simone and Haiku Salut bookended proceedings with sheer loveliness.
VIOLENT FEMMES (London Troxy, 18/06/14)
Some older bands, when reuniting to play material from their long-distant youth, clearly expend the least amount of effort possible in doing so (*cough*Pixies*cough*) but the Violent Femmes looked like they were having the time of the lives, and ensure we did as well. Plus, they played "Blister In The Sun" twice because they could, and that made me very happy.
Some older bands, when reuniting to play material from their long-distant youth, clearly expend the least amount of effort possible in doing so (*cough*Pixies*cough*) but the Violent Femmes looked like they were having the time of the lives, and ensure we did as well. Plus, they played "Blister In The Sun" twice because they could, and that made me very happy.
RAMONA LISA (London Courtyard Theatre, 17/06/14)
The natural inclination when discussing Ramona Lisa, the solo project of the immensely talented Caroline Polachek, is to bring up comparisons to her more established synth-pop outfit, Chairlift (best known for scoring an iPod commercial with the excellent "Bruises" back in 2008). However, her dramatic debut London performance would perhaps be better paralleled with Swedish electro-oddball's The Knife, in particular their controversial Shaking The Habitual tour, in that it was less a traditional gig and more a piece of performance art. Yet whilst The Knife shows suffered a surfeit of pretension and a shortfall of substance, Polachek's melding of music and dance proved significantly more interesting and artistically unified. Stylistically, her inspiration seems to be the late 60's- the crisp, sterile retro-futuristic white jumpsuits, the sinister eye motif, the purposefully kitsch choreography. Instruments are nowhere to be seen (a rare example of this being a good thing), audience interaction is restricted to a few words and cleverly-utilised projections augment the beguiling, stylised atmosphere. Yet this impressive stagecraft isn't delivered at the expense of the music, which combines the melodic strengths of her other band with the dreamlike otherworldliness of Julia Holter. A triumphant introduction to Polachek's brave new world, Ramona Lisa are destined to become one of the "must-see" live acts of 2014.
The natural inclination when discussing Ramona Lisa, the solo project of the immensely talented Caroline Polachek, is to bring up comparisons to her more established synth-pop outfit, Chairlift (best known for scoring an iPod commercial with the excellent "Bruises" back in 2008). However, her dramatic debut London performance would perhaps be better paralleled with Swedish electro-oddball's The Knife, in particular their controversial Shaking The Habitual tour, in that it was less a traditional gig and more a piece of performance art. Yet whilst The Knife shows suffered a surfeit of pretension and a shortfall of substance, Polachek's melding of music and dance proved significantly more interesting and artistically unified. Stylistically, her inspiration seems to be the late 60's- the crisp, sterile retro-futuristic white jumpsuits, the sinister eye motif, the purposefully kitsch choreography. Instruments are nowhere to be seen (a rare example of this being a good thing), audience interaction is restricted to a few words and cleverly-utilised projections augment the beguiling, stylised atmosphere. Yet this impressive stagecraft isn't delivered at the expense of the music, which combines the melodic strengths of her other band with the dreamlike otherworldliness of Julia Holter. A triumphant introduction to Polachek's brave new world, Ramona Lisa are destined to become one of the "must-see" live acts of 2014.
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