Tag: gig

REVIEW: Birthmarked

Published on by Lucy CLeave a comment

Rating: 5 out of 5.

A must see captivating and heartfelt concept gig that leaves a lasting impression

A young Jehovah’s Witness comes to terms with his sexuality and finds his feet (and high heels…) in a world he once believed would be destroyed at Armageddon. Birthmarked is a new concept gig written and performed by Brook Tate and his grand ol’ band of pals. With original music likened to Stevie Wonder and Joni Mitchell, alongside a whale, a paintbrush and a pair of tap shoes, he hopes to shine a light on what it means to be marked… at birth. Written and composed by Brook Tate. Directed by Sally Cookson.

Birthmarked is a groundbreaking concept gig that intricately weaves music, storytelling, and personal revelation into a captivating performance. Written and performed by Brook Tate, this show tells his story of being a young gay Jehovah’s Witness coming to terms with the loss of his entire family upon coming out. We were given a rare glimpse behind the curtain of a religion often unfamiliar to many. One surprise to me was that a Jehovah’s Witness’s children’s book had a graphic depictions of men being stoned. 

The performance is unique blend of a gig and an autobiographical performance. The music, composed by Tate and his band is a powerful vehicle for the story. The songs are soulful, introspective, and melodically rich. Each song serves as a chapter in his journey and speaks to a family members he has missed out on a relationship with. His warmth and kindness shine throughout the performance. Not only is he a captivating performer, but he also comes across as a genuine, friendly and caring person. 

The staging and costumes evolve over the course of the performance, becoming less un-apologetically queer as Tate embraces his true self, making each song not only special but a testament to his growth and resilience. The initial polyester grey suits are gradually stripped away to reveal camp dresses, skirts, sequins, and bodysuits. Each outfit was bold and colorful. Tate seemed to come alive in the flamboyant outfit and heels. I do have a real soft spot for a saxophone or a ‘sexy phone’ as Tate coined it and this did not disappoint. 

One of the most compelling aspects of the performance is Tate’s bravery in sharing his story. I was so moved at how he remained strong throughout re-living some of the darkest times of his life. He openly discusses how performing this show will make him more estranged from his siblings, who are still a part of the religion. And just how important it was for him to share his art and give a voice to those who have also been affected. 

After the performance, Tate came out into the audience to speak with people, showing his genuine kindness and humility. This interaction highlighted his caring nature and reinforced the connection he established with the audience during the show. His openness and warmth left a lasting impression, one that made me sad that his young nieces were going to miss out on. 

Tate’s ability to shine a light on what it means to be “marked at birth” is both enlightening and empowering. The performance’s blend of humour, heartbreak and hope makes it an unforgettable experience. It has a short run at the Lowry, and I’d highly recommend going to see this show because I don’t imagine it’ll be in smaller theatres for long. 

REVIEW: His Lordship at Cabaret Voltaire

Published on by ruthiooLeave a comment

Rating: 4 out of 5.

Genre-bending nostalgia rock with heart

If you were lucky enough to be at Cabaret Voltaire in the Edinburgh city centre, it’s fair to say you got one hell of a show!

His Lordship, playing their second day of their UK (and USA) tour took to the caves of Edinburgh’s Cowgate to deliver an impressive show featuring songs off their two albums. 

Originally founded as a duo, His Lordship have come from top stock. Fronted by James Walbourne formerly of The Pretenders, the Pogues and The Rails and drummer Kristoffer Sonne who played with Chrissie Hynde and Willie Nelson, there is a collective experience here that is evident in every note. 

With a surprisingly lean set up of bass, guitar and drums, the lords fill every decibel to the max with feisty riffs and dreamy harmonies in every song. At no point do the songs feel empty at the hands of three clearly extremely capable musicians. That is immediately obvious when His Lordship takes to the stage. These are seasoned professionals. There is no awkward chit chat, no lengthy pauses to retune, just a confident and seamless interplay between three people who just know what they are doing.

His Lordship really put on a show. Their showmanship is clean and precise, with obvious thought put into little touches of choreography. Even when they just get into the groove of a song, there is no senseless headbanging and tossing of bodies, but the passion and joy of the music shines through cheeky smiles and bopping shimmies. Frontman Walbourne takes charisma seriously, from his cool relaxed suit to his interactions with the audience.

What I loved most about His Lordship was of course the music. They have adeptly managed to blend nostalgia into every song. Songs ranged from post-punk reminiscent of Frank Turner, rolling into 60s style rock and roll to a modern beat, complete with delicious three part harmonies impressively delivered by Sonne and Dave Page on bass. Weaving in elements of rockabilly, surf rock and a touch of country blues into songs that keep your head nodding and feet stomping, it’s clear to see why this band is on the rise. Clever choices, musicianship and charm has been carefully crafted into something rather special.

If you have a chance to catch one of the remaining tour dates around the country, make sure to get your tickets as they are sure to be in short supply!

REVIEW: through the noise: Attacca Quartet

Published on by Jason Showdie1 Comment

Rating: 3.5 out of 5.

An electric performance full of memorable moments

The Attacca Quartet is a Grammy award-winning American string quartet, especially known for their collaborations with Pulitzer Prize-winning artist Caroline Shaw. noisenights are through the noise’s vision for the future of classical music: crowdfunded gigs taking world-leading musicians to iconic independent venues. Together, they make for an electric evening.

It can be very difficult to review a night like this, as so much of it can come down to the individual’s prior relationship to classical music. As someone who is less familiar with this world, the evening had moments of great accessibility but others that felt as if they were flying over my head. 

Something that can be said for certain is that Attacca Quartet are a powerhouse group. The talent oozing from the musicians–Amy Schroeder, Domenic Salerni, Andrew Yee, and Nathan Schram–was virtuosic and inspired dropping jaws and enthusiastic whoops galore. 

The choice of programme was also a smart one, with a combination of versions of well-known tunes and those that will be familiar to the regular fans of the group. I was particularly impressed by the dynamics on display: moments of sweeping romance followed by more experimental picking and stabs. Personally, and surprisingly, it was the slightly more traditional moments which impacted me the most, such as the Ravel String Quartet in F: I. Allegro moderato. As mentioned above, this is perhaps down to my familiarity with this kind of language for classical music–something I lacked in the more surreal, futuristic sections.

I can’t overstate my share of responsibility for my listening experience. After all, there is truth in the adage that we get out what we put in. And it’s certainly true that the passages which went against my expectations still managed to lift the room and occasionally transcend into an unusual ethereality.

One of the biggest takeaways of the night was how great it was to see such a large swathe of young people moving to classical music–a genre often labelled as elitist and exclusive. It’s not necessarily what you’d expect for an evening in a nightclub in Hackney, but that’s exactly why through the noise’s mission is an important one. Access to the arts is in dire need of support, and I for one would recommend turning out for any future noisenight events. You might just find it opens a door.

REVIEW: Sam Lee ‘songdreaming’

Published on by libartowritesLeave a comment

Rating: 5 out of 5.

A standout example of the ‘new folk’ genre and the universality of music.

As the second stop on his new album’s extensive UK tour, Sam Lee took to Edinburgh’s Summerhall in celebration of his fourth studio album ‘songdreaming.’ With a beautiful opening by singer songwriter Finn Anderson and a set of new and old hits, the performance was infinitely likeable. Soft spoken and personable, Sam Lee was a barefooted breath of fresh air on the stage. There was a somberness to the performance that was totally entrancing and utterly enigmatic from beginning to end. Inspiring a fanbase that exceeds all expectation and generational divide, the crowd comprised a delightful mix of respectful and attentive patrons giving the whole affair an air of reverence and meditation. 

Regarding the set itself, Sam’s work, comprising four albums, is utterly cinematic—which is fitting seeing as the newest album was mostly written for the screen. Epical in every sense, it posed not only an astounding contrast to the quirky singer, himself, but also the lovely juxtaposition of fantastical and temporal themes. Encompassing a wide range of experience and tone, it was a real treat to hear the inspiration and history that brought it all about. Giving new life to old tunes and bringing them into the public awareness as living history is a laudable and mammoth endeavor that Sam appears to take into stride. Quick to recognize the subtext and lingering unease inherent in all his songs, the set was evocative of nature and the human connection to it with its seemingly dwindling partnership. Eco-anxiety notwithstanding it was stunning, inspiring, and downright good.

A beautiful collaborative endeavour produced by Bernard Butler and composer James Keay, the evening was an overall success and a privilege to be a part of, especially in such an intimate space. It is always a lovely surprise to hear new music that steps outside of popular themes and narratives, and it was obvious by the eclectic and packed turnout that there is an audience craving simple and cerebral sounds. Deserving of every bit of critical acclaim the album and performance has amassed already, simply put: it was quirky, it was fun. It was unexpected and it sets the bar high for the oxymoronic ‘new folk’ sound.

Tickets are now on sale, visit www.samleesong.co.uk for details and booking.

REVIEW: Brown Horse

Published on by Summer Bennett SteinLeave a comment

Rating: 4.5 out of 5.

They’ve got a fresh spark fuelled by a reservoir of moving, tried and true folk sounds

Brown Horse has just begun its UK tour in Glasgow; they will play up and down the country before finishing off in Dublin in May. Holy smokes (as they repeat in one of their unreleased songs), catch them while you can! This sextet is fresh out of Norwich, where they met and recorded their debut album, ‘Reservoir’. 

While they are ripe with a unique zest, they thoughtfully and openly pull from a reservoir of 60s and 90s folk influences. 

The lead singer, Patrick Turner, attributed their main inspiration to 90s alt-grunge rock, especially Lucinda Willians and Uncle Tupelo. They certainly deliver in spades in ‘Bloodstain’. But the harmony of his voice alongside Phoebe Troup’s, also guitarist, creates a haunting, electrifying new sound that I can still feel vibrating in my head. Their sound is underpinned by an instrumental depth, thanks to an array of instruments and all of their visible musicality. 

Never before have I seen a pedal steel guitar take the stage, let alone centre stage. Imagine two, bodiless guitar necks lying side-by-side on a rectangular stool. I have to say this alone convinced me of their individuality. The advent of this instrument in the 1950s propelled country music in the US, in the same way it grounded Brown Horse last night, and certainly focused my gaze. An accordion and an electric piano took the stage at different points, showcasing the versatility of the individual bandmates. 

Their sound, too, traversed through fields of sorrow, but would then spring you into the clouds, much like the smoky, comforting orange ones on their album cover. This journey reminds me of Gene Clark’s in his album ‘No Other’, which similarly floats above an ocean brimming with country strings and piano.

Throughout the set, the lead singer emphasised the teamwork that went into all the songwriting. Their united front was tangible; they would exchange knowing, humble smiles between songs. They knew they were making us feel. 

Halfway through the set, an audience member clearly quite familiar with their discography, shouted, ‘play that one with Elvis’! The band seemed a little thrown – still in the early days of playing for a standing, animated room, they admitted – but knew exactly what he meant. They proceeded to serenade us with an homage to Paul Gilley, an underappreciated 50s folk singer and songwriter and member of the 27-club. The piercing, repeated lyric goes, ‘if Paul Gilley wrote the words to the saddest song that Elvis ever heard, how come no one knows this is the loneliness in the singing of the birds’. Little did I know, the much covered ‘I’m So Lonesome I Could Cry’, was written by a man who is a nobody for many. Brown Horse’s aching lyrics and harmonies remind us who unwittingly laid the groundwork for the sounds that ground us, while soaring above to reflect on a loneliness that rings bitterly true today.

While briefly allowing yourself to wallow with them and maybe even cry alongside the fiddle in ‘Sunfisher’, their energy somehow leaves you with an impetus to ‘Shoot Back’. 

If you can’t make one of their shows, which I would highly recommend – just to see a pedal steel guitar – and feel the intense affection they have for their music and each other, be sure to listen to their album in full. It’s a ‘Silver Bullet’ for even a sliver of sorrow.

REVIEW: Nouvelle Vague / Kill The Pain

Published on by lwscottishoakLeave a comment

Rating: 4 out of 5.

A combination of talent, which made for an electrifying and captivating evening

After a stressful week, I had the opportunity to attend the Kill The Pain and Nouvelle Vauge concert last weekend and it was an unforgettable experience. 

The concert venue was pleasant, and the room had a great vibe even before  the bands stepped on stage. The production of the concert was also impressive. The lighting and sound were on point, enhancing the overall  performance. The stage was set up in a way that allowed everyone in the  audience to have a clear view of the band, no matter where they were  standing. This made the concert feel more intimate and personal.  

But when the show started the energy only ever increased. 

Kill The Pain’s performance was kooky but in the best way! From the second they walked (or rather danced their way onto stage) it was hard to look away. Their stage presence was such a delight and tied in with their music and serene vocals, it was so enjoyable to watch.

After a short break, Nouvelle Vague stepped on stage and in captivated the audience with beautiful French vocals. A real highlight for me was when one singer stopped and started to dance as if no one was watching and – with the help of the amazing tech staff – truly made it a one-of-a-kind experience. The band also took the time to interact with the audience, sharing the stories behind their songs and making the concert feel more personal and real.  

Before the show ended, Nouvelle Vague invited Kill The Pain back on stage for a final few songs which just made the night complete. All the beautiful talent combined on stage was amazing to see and to hear and ended the show stunningly.

REVIEW: Beans On Toast

Published on by Claire McArthurLeave a comment

Rating: 4.5 out of 5.

A must-see for fans, the addition of the band adds an extra dimension to a cracking gig 

Full disclosure: I’ve been watching Beans On Toast (aka Jay McAllister) live in Edinburgh for several years now. The folky singer-songwriter with pithy lyrics is a firm favourite, and so this gig was eagerly awaited. 

Now touring his latest album “The Toothpaste and the Tube”, Beans On Toast has assembled an all-star band to accompany him on this tour. At Le Belle Angele, three of the band members had support slots, before the main event, resulting in an entertaining evening lasting nearly 3 hours. First up was Memphis Gerald (aka Ben Fitzgerald) on guitar, with a lovely folky-acoustic set, including songs from his concept album exploring the links between his native Scotland, and Appalachia in the US. Always tough to open when the room is still filling up, he was quietly charming and a great scene-setter. Next up, King Killership on keys and harmonica, kicking up in tempo and a thumping bluesy honky tonk set. A homecoming of sorts for him, revealing he used to play jazz piano in an Edinburgh venue, and first sang live. It’s a bold move to then follow this with a spoken word poet, but bass guitarist Bassie Gracie held the audience’s attention with a deft touch, and engaging stories about her life and poetry. Her rendition of “Gimme Dat Girl” was a particular highlight. I’ll follow the future careers and tour dates of all three acts with interest.  

On to the main act, and along with the support artists, plus Abbi Phillips on drums, Beans leapt to the stage with quintessential energy. The set list was complied thoughtfully and well paced – the band not only featuring on his new tracks, but some from his back catalogue too, with a few sung solo. It’s always a bit of a concern when a solo performer adds a new element, but the band felt a complementary addition, and a comfortable partnership. Throughout, the sound mix was great, but on occasion the enthusiastic keys were heard over the bass and guitar, and could have been slightly more balanced but only a minor point. 

The expected Beans On Toast mixture of songs with political commentary, those extolling love and peace, were all present and correct. A few friendly asides adding insight into how his songs have changed over the years, reflecting his life and that around him, added some familiar intimacy, alongside with his heartfelt joy at being so lucky to be able to share his songs with the world. During his love song to his wife Lizzie “I’m Home When You Hold Me”, there was a brief pause for a proposal in the front row (congratulations to the happy couple!) to the delight of the crowd. A typically good natured and appreciative audience, this reached new levels with the performance of new song “Sunny Sunny Scotland”. It opened with Jordan Aikman playing the bagpipes, and the crowd struck up the particularly Scottish refrain of “Here We, Here We, Here We [redacted] Go”, to the clear delight of the band. This one is definitely a hit for future performances north of the border.     

We finished with a favourite, “On & On”, and a final hopeful and heartfelt note to give peace another chance. As he sung himself, there’s a lot of work to do, but maybe we all just need some more Beans On Toast. I know I do.               

REVIEW: Django Django

Published on by ayoungishperspective1Leave a comment

Rating: 3.5 out of 5.

Django Django continue to show why their unique soundscape and psychedelic blend of genres remains the kind of music best heard live in a the sea of a crowd.

Django Django have been a consistent force in the art house genre for a decade now, pushing out albums that constantly dance and explore the gap between pop rock and sounds from electronic musicians like Daft Punk. In 2013 they reached the presitigious accolade of being featured on the FIFA soundtrack of that respective year and the GTA V soundtrack with the song ‘Hail Bop’ off their debut album, the latter being where I was first introduced to the band.

A decade later and they arrive on stage at The Liquid Room, Edinburgh stood in matching all white outfits in contrast to the misty, murky darkness of the small basement venue as they stood out embracing the spotlight that a decade of work and innovation has earned them. As they start to play, you can feel the anticipation building in a slow burn. The first few songs are gentle and did not feature as much heavy synth work as the fan favourites tend to, and you could slowly feel the crowd warming up as we all started to sway to the dreamy riffs of ‘Right the Wrongs‘. By the time ‘Hail Bop‘ came along the crowd was in the mood for it. The song is a standout for a reason, it’s heavy blend of dreamy electronic melodies and catchy hypnotic vocals, and we were all under the spell. Throughout the gig, there was some light banter and crowdwork but they mainly chose to let the music do the talking, but you could see in the little turns and mutters to each other between songs, this is still the same band that started with Dave Maclean and Vincent Neff messing around in a flat togther.

The whole night was filled with a good range of old classics, new tracks from their album Off Planet, an unreleased track ‘Somebodies Reality’ and a very fun and fitting cover of Daft Punk’s ‘Around the World’. The setlist was well worked and the jumps to more up tempo dance tracks like the aforementioned Daft Punk cover was well managed but never detracting from the lower tempo psychedelic songs that transported you outside of the dark basement usually reserved for student club nights.

In the intimate setting of the Voodoo rooms, the whole show – including the support act Low Island – set the tone for a fun, laid back evening of melodic synthesizers, warm vocals and some psychedelic instrumentals. Django Django continue to show why their unique soundscape and blend of genres remains the kind of music best heard in a the sea of a crowd.

REVIEWER: John Richardson

REVIEW: Pet Needs

Published on by ruthiooLeave a comment

Rating: 4.5 out of 5.

Pet Needs will get your head nodding and foot tapping until your head banging and jumping. Catchy tunes to a punk-rock beat to get your blood pumping!

Pet Needs, the emerging punk rock ensemble from Essex, commanded the stage at Sneaky Pete’s this weekend for one night out of their extensive UK tour. 

The tour announces their imminent third studio album, “Intermittent Fast Living,” slated for release on February 16, 2024 and we were treated to a few sneak previews from what promises to be an exciting new album which is anticipated to make an appearance in the UK Top 40 charts – a first for Pet Needs and an achievement I sincerely hope they reach.

The band’s performance at Sneaky Pete’s showcased a relentless enthusiasm despite the demanding rigors of their rock and roll lifestyle. Lead vocalist Johnny Marriott, led Pet Needs into a high-energy set that maintained its fervor from the explosive outset to the final chords of their 60-minute performance. Unfazed by mid-set malfunctions and a relatively modest yet enthusiastic audience, the band exuded an unwavering passion that resonated with every beat. The energy was infectious and looking around the room I could see mine was not the only face split with a grin that never dropped. 

Leaving the venue, I couldn’t help but feel that Pet Needs is poised for musical eminence. Unlike their counterparts in the punk scene, these seasoned musicians exhibited a level of expertise and cool confidence that had the magnetic that had eyes glued to the flying fingers of guitarist George Marriott(brother of frontman Johnny), the bouncing rhythm of bassist, Ryan and the head banging heart beat produced by drummer Jack. The fluid interplay between band members, as they danced and immersed themselves, revealed a camaraderie that is hard to miss. While other emerging punk acts may falter, Pet Needs demonstrated a depth of experience that shone through in their polished but friendly delivery. The audience’s attention effortlessly shifted between band members, a testament to the group’s collective stage presence. Between songs, the band’s dialogue, far from cringeworthy or self-absorbed, fostered a genuine connection with the audience, offering a glimpse into their lives and journey. It is this masterful showmanship that had me running to the merch stand, securing an album before the inevitable sell-out. 

Pet Needs had the air of a band on the cusp of greatness, and I hope they can maintain the momentum needed to make themselves a household name. Find their upcoming tour dates here to witness the unfolding of their promising musical journey.