Review: HERE
(Photo: Anthony Keiler (The Line of Best Fit))
Saturday, September 22, 2012
LEONARD COHEN (London Wembley Arena, 09/09/12)
Due to a heavily-undersold second night at Wembley Arena (well, what do you expect if the cheapest tickets are £74?), the promoters decided to give away thousands of free Leonard Cohen tickets on the day of the gig. Hence I unexpectedly found myself seeing the legendary singer-songwriter perform what turned out to be one was undoubtedly one of the best shows I've seen in a very long time. Cohen freely admits that he only returned to touring after his ex-manager screwed him out of his fortune, but unlike his contemporary Bob Dylan, there's absolutely no sense he's phoning these shows in – indeed, his energetic showmanship would be impressive from someone much younger than his 77 years. For over three hours he left the audience spellbound, unleashing hit after hit with his superb backing band, and although I wasn't previously au fait with his material, his gloriously gravelly bass voice and wonderful turn of phrase made me an immediate fan. An absolute joy of a performance, and if he ever returns to these shores, I think I'd be more than willing to shell out the ridiculous prices he charges to see him again.
(Photo: John Gleeson)
Due to a heavily-undersold second night at Wembley Arena (well, what do you expect if the cheapest tickets are £74?), the promoters decided to give away thousands of free Leonard Cohen tickets on the day of the gig. Hence I unexpectedly found myself seeing the legendary singer-songwriter perform what turned out to be one was undoubtedly one of the best shows I've seen in a very long time. Cohen freely admits that he only returned to touring after his ex-manager screwed him out of his fortune, but unlike his contemporary Bob Dylan, there's absolutely no sense he's phoning these shows in – indeed, his energetic showmanship would be impressive from someone much younger than his 77 years. For over three hours he left the audience spellbound, unleashing hit after hit with his superb backing band, and although I wasn't previously au fait with his material, his gloriously gravelly bass voice and wonderful turn of phrase made me an immediate fan. An absolute joy of a performance, and if he ever returns to these shores, I think I'd be more than willing to shell out the ridiculous prices he charges to see him again.
(Photo: John Gleeson)
SIGUR ROS (Amsterdam Paradiso, 29/08/12)
A far more stripped down affair than the confetti-and-marching band extravaganza of the last couple of tours, but when it comes to the slow-burning post-rock crescendo, Sigur Ros are still in a league of their own. Concerns that the more muted, ambient material from new album "Valtari" would lead to a less exciting live show are mitigated by the fact they don't play much of it, with the focus very much on old favourites such as Hoppipolla, Vaka, Hafsol, Festival, Glosoli and Svefn-g-englar, (though Varud is undoubtedly a fine addition to their oeuvre). And when all is said and done, Untitled 8 still remains the greatest live song of all time, bar none. So glad to have them back.
A far more stripped down affair than the confetti-and-marching band extravaganza of the last couple of tours, but when it comes to the slow-burning post-rock crescendo, Sigur Ros are still in a league of their own. Concerns that the more muted, ambient material from new album "Valtari" would lead to a less exciting live show are mitigated by the fact they don't play much of it, with the focus very much on old favourites such as Hoppipolla, Vaka, Hafsol, Festival, Glosoli and Svefn-g-englar, (though Varud is undoubtedly a fine addition to their oeuvre). And when all is said and done, Untitled 8 still remains the greatest live song of all time, bar none. So glad to have them back.
Friday, August 10, 2012
COCOROSIE (London Royal Festival Hall, 04/08/12)
The sisters Casady have long established themselves as some of the more eccentric presences in the hipstersphere, but the years have mellowed their weirder, more inscrutible tendencies. Their unique fashion stylings and androgyny remain (although the 'taches are notably absent), but their music is more accessible than ever and, in my opinion, much better for it. That's not to say they've shifted into MOR territory - they've got a beatboxer doing the percussion for Chrissakes - but Sienna's angelic soprano and Bianca's gravelly rasp are underpinned by song structures more traditional than their sometimes alienating earlier material. Slightly disappointed they didn't play the incredible "Lemonade", but the beautifully striking contrast between their voices coupled with their marvellous blend of quirky folk, classical and hip-hop made this one of the foremost musical pleasures of recent months.
(Photo: Stefanos Zachariadis)
The sisters Casady have long established themselves as some of the more eccentric presences in the hipstersphere, but the years have mellowed their weirder, more inscrutible tendencies. Their unique fashion stylings and androgyny remain (although the 'taches are notably absent), but their music is more accessible than ever and, in my opinion, much better for it. That's not to say they've shifted into MOR territory - they've got a beatboxer doing the percussion for Chrissakes - but Sienna's angelic soprano and Bianca's gravelly rasp are underpinned by song structures more traditional than their sometimes alienating earlier material. Slightly disappointed they didn't play the incredible "Lemonade", but the beautifully striking contrast between their voices coupled with their marvellous blend of quirky folk, classical and hip-hop made this one of the foremost musical pleasures of recent months.
(Photo: Stefanos Zachariadis)
Sunday, July 29, 2012
Sunday, July 22, 2012
M83 (London Somerset House, 16/07/12)
Basically this with more shiny things and a considerably greater number of scenester twats. Middle of set sagged a little, and the absence of "Kim and Jessie" was a cause for sadface but dear God, "Couleurs" was brain-melting in its epicness.
Basically this with more shiny things and a considerably greater number of scenester twats. Middle of set sagged a little, and the absence of "Kim and Jessie" was a cause for sadface but dear God, "Couleurs" was brain-melting in its epicness.
Friday, July 06, 2012
ERYKAH BADU (London Hammersmith Apollo, 27/06/12)
Not really my bag (lady), but a enjoyably groovy performance nonetheless. Did prove once and for all though that it’s impossible to look cool whilst rocking the jazz flute.
(Photo: Styleblazer)
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.
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.
Sunday, June 17, 2012
Monday, June 04, 2012
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)
Sunday, May 06, 2012
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.
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)
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.
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.
Sunday, April 22, 2012
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)
(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)
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)
(Photo: John Gleeson)
Saturday, April 07, 2012
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)
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)
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