[GIG REVIEW] Mew @ Village Underground, London 14.12.2015

The layered synths of the intro track, along with the soft colours bathing the stage in light  swirl up to their breaking point before cutting out completely as Silas Utke Graae Jørgensen begins the pounding drum beat to opening tune ‘Witness’, accompanied solely by the flashing white strobe, his band mates yet to enter the stage. This moment of raw energy bursting forth is invigorating and exciting, and perhaps best explained within the context of the whole night…

Titled ‘An Evening With Mew’ this has the air of a slightly out of the ordinary show. Things start familiarly enough with the supremely talented Rosborough, a singer-songwriter from Derry in Northern Ireland who peppers his support set with emotionally charged ditties complete with loop-pedal wizardry and vocal acrobatics. After receiving a really warm reception from the crowd he leaves the stage, ready to host Mew for their first set of the evening, a short acoustic segment revisiting old rarities.

An act performing two different sets on one night is fairly unusual, but not unheard of. It is the low-key nature of Mew’s first appearance that gives the night its pleasant close and communal vibe. A further aide to this is bassist Johan Wohlert’s endearingly awkward stage chat (showing that even rockstars can find it tricky to chat to a room full of 500 people sometimes…). This intimate and cosy vibe is not lost on the band who chat playfully amongst themselves and Wohlert’s jokes that “when your management calls you up and asks if you want to open for Mew you just don’t say no!” in reference to the slightly surreal set-up.

The song selection of the acoustic part of the show is made up of welcome rare cuts and well-constructed reinterpretations of newer tracks. A highlight from most recent album, ‘+-‘, ‘Waterslides’ goes down well but the biggest cheers are reserved for the likes of ‘Frengers’ tunes ‘Symmetry’ and ‘Beyond the Drapes’, ‘Why are You Looking Grave?’ from ‘Mew….And the Glass Handed Kites’ and early B-side ‘That Time on the Ledge’. This stripped back segment does a good job of showing off the band’s songwriting talent removed from the more sonically experimental recordings we are used to, as well as the rockier elements their music often entails.

Returning to the main set of the night, the band members join their stranded drummer stage one by one and complete rousing renditions of an opening four-punch (all running musically straight into each other) of ‘Witness’, ‘Satellites’, ‘Special’ and ‘The Zookeepers Boy’. The sheer power of these tracks live is emphasised ten-fold compared to the record, and provides a fantastic and electrifying contrast to the chilled feel of the music up to this point. Following this is a slight climb-down in intensity after the breathless opening, as the band perform ‘Sometimes Life Isn’t Easy’ from the impeccably named album ‘No more stories are told today I’m sorry They washed away no more stories The world is grey I’m tired Let’s wash away”.

After this the energy-levels are ratcheted back up for the double of ‘Frengers’ standouts ‘Snow Brigade’ and ‘She Spider’. The former provides the highest and most animated pogoing of the night, and possibly the loudest shouting along of the anthemic chorus.  

Then momentarily we’re back in chill-land as lead singer Jonas Bjerre performs a medley, accompanied only by piano, of ‘Clinging to a Bad Dream’, ‘The Zookeepers Boy’ and ‘Louise Louisa’.  After this we get ‘+-‘ tunes ‘Making Friends’ and the epic ‘Rows’, the latter potentially using the projected imagery on the screens behind to best effect. Throughout the show this has been by turns showing beautiful land- and star-scapes and eerie and twisted version of the members of the band. For the outro to ‘Rows’ we see the band in monkey form disconcertingly singing along with the real life members.

It’s almost the end of the main set, but not before two crowd favourites- the imperious ‘Am I Wry? No’ and haunting ‘156’ which both go down an absolute treat sending the already hyped audience into raptures.

The band leaves the stage to wild applause, and makes the crowd wait briefly before the inevitable encore. But what an encore. The beautiful and pop-inspired early single ‘She Came Home For Christmas’ is first up, prompting yet another huge sing-along.  Then there is just the final tune, and everyone knows what it’s going to be, the euphoric and cinematic behemoth that is ‘Comforting Sounds’. This song is even more powerful in person than on record, and I can’t think of many better live full stops than the perennial set-closer taken form perhaps their most beloved album ‘Frengers’. An apt ending to a fantastic show that really delivers for the fanatical following the band has built up over the years, and also impressive for those who haven’t experienced the Mew live machine before.

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Interview with... Blaenavon

Blaenavon have become renowned as the band who doesn't release music. Almost eighteen months since their last release, the KOSO EP, they say things are about to change.

With a handful of festivals on the horizon, a debut album nearing completion and school left to one side, the trio are finally making use of their musical abilities. Tonight at The Leadmill in Sheffield they support Dry The River on an intimate UK tour but unlike some support acts, they leave the crowd wanting more of them rather than the headline band.

Live they are one of the tightest units around and fit snuggingly amongst the likes ofDry The River themselves and The Maccabees. 'Denim Patches' brews slowly, with Ben Gregory's vocals wavering like latter's frontman, Orlando Weeks. Other crowd favourite, 'Into The Night' shifts through picky riffs and drummer Harris McMillan turns tribal on the drums.

The crowd are treated to a taste of new tracks to come with thicker bass lines and strings that ring more like synths in what sounds like older influences from The Cure. 'Swans' is the highlight though, and despite it being first played before the band had even accomplished puberty, it's lullaby opening is a throwback to The Maccabees 'Toothpaste Kisses'. It's a wailing love song and far too mature for their youthful souls but a sure sign that their album to come could be a dark horse to say the least.

I had the chance to talk to the band just moments before they went on stage and they revealed more information about the album, their thoughts on the Brits and misleading song names.

Listen below:


By Josh Shreeve (@JJShreeve)

Live Review... Slaves @ The Leadmill, February 19th

You’ve got to give it to Slaves. Not only have they managed to make it to the first night of the tour, when other band on the bill, The Amazing Snakeheads have just dropped out, but they’ve come prepared. They claim they don’t have pre-show plans but armed with a fridge full of ham sandwiches and clenching packets of monster munch, they’re ready for war. 

A giant mantaray lurks behind Slaves as they open the NME Awards Tour 2015.

It’s down to them to get the NME Awards Tour 2015 kicked off with ‘White Knuckle Ride’, the catalyst for the first spews of beer. In between erratic marching, vocalist and stand alone drummer, Isaac Holman, asks the audience what their favourite type of biscuit is but there’s little time to answer as he scrunches his face up once more and batters the skins whilst Laurie Vincent shouts, ‘anyone for a garibaldi?’

Not taking themselves too seriously could be the key to success. Holman is shy yet mischievous off stage, but once in front of a crowd it’s his chance to confront everything that’s ever pissed him off, including ‘Debbie’ in ‘Where’s Your Car Debbie?’, which he says is of a story of searching for her car with a Sasquatch in hot pursuit. When joined in by Vincent’s vocals, there’s shards of The Clash flying about, but the duo claim they’re not trying to sound like anyone, although not even the most acute hearing can draw comparisons to anything from Sex Pistols punk to American garage rock. 

The street poetry tales continue from a shirtless Holman, who turns the ‘Yorkshire’ chants into ‘Feed The Mantaray’ when a roadie joins them onstage dressed as a giant mantaray. It’s all of a sudden turned very Shooting Stars as if Vic Reeves is shredding guitar as Bob Mortimer spits ludicrous venom. The light hearted story telling turns ferocious and politically charged in ‘The Hunter’, as opening lines, ‘the people are freezing and the water is warm, and the ice caps are melting what will happen when they’re gone?’ gather momentum and there’s a riot building in front of Vincent who peers through the mist. Moments later Holman finds himself amongst this mass as he leaps in during the breakdown of ‘Hey’, using them as a human towel to dry every beed of sweat he’s exuded over a short but savage set.

(@JJShreeve)

Live Review... Peace @ Queen's Social Club, Sheffield, 30th January 2015

You’d be mistaken for thinking Peace aren’t a big deal judging by the venues they’ve picked to play in over the next few months. The B-Town band have left academies to one side to showcase material from their second album, 'Happy People', in front of more intimate audiences. 

Queen’s Social Club is their residency for the next two nights and follows suit with it’s beer stained carpets and tinsel covered walls. Filled with a few hundred teenagers, and couples sat on laps around the fringes, it feels like a weird school disco, where the wacky kids stick out like a sore thumb. 

Once upon a time Peace would have fitted into that category, but having stuck it out in their mum’s garage and donning dubious haircuts, they’ve now grown into something everyone craves. Bodies swirl in a swollen mass towards the feet of singer Harry Koisser’s trailing fur coat as the band rattle off ‘Higher Than The Sun’ and ‘Follow Baby’ from first album, ‘In Love’. The opportunity to play new material is latched to as ‘O You’ and ‘Perfect Skin’ are heard for the first time, the latter opting for the chance to console niggling anxieties; ‘I wish I had perfect skin, I wish I was tall and thin’, not the first unusual lyric choices we’ve become accustomed to.

Other new tracks, ‘Money’ and ‘Lost On Me’ are already instant B-Town classics and send the crowd into a frenzy, but it’s ‘1998’ at full thrust which really sorts the tie-dye from the die-hards. The twisted version of Binary Finary’s dance hit isn’t the only 1998 floor filler to leak from their guitars though as ATB’s, ‘9PM [Til I Come]’ ,rings around the room amongst woozier tones of ‘Float Forever’ and ‘Sugarstone’. The band opt for a different pre-millennium sound though in romanticised ‘Someday’, where Koisser’s vocals slip in and out of Liam Gallagher whines, whilst he stands unashamedly in some sort of rat onesie - a questionable choice of dress even for him. Thankfully one of the stronger new additions to Peace’s set comes in the form of ‘World Pleasure’, an unassuming savior to Brit-pop which is meant for stadiums but stands glorified amongst sticky condensated walls. Bass player, Samuel Koisser even takes a step into the crowd to show off his funk-fueled riffs, as Harry hails the crowd, ‘one of the best we’ve ever had’.

If there’s any proof needed that Peace are one of the most important bands in British music right now, it’ll be seen this year. Shows of all sizes and a second album which teeters on the consistency of their debut could bring about the revival of Brit-pop to guitar-thirsty crowds.

(@JJShreeve)

Live Review... Jamie T @ Manchester Academy, 07/11/14

When Jamie T announced his return this year, a glimpse of the almost fabled singer-songwriter became highly sought after. Despite being distant for half a decade, he re-emerged to fans as if he'd just nipped round the block and returned with a new band, new songs but still the same loveable chap with an equally as big bit between his teeth.

Much like his latest album, 'Carry On The Grudge', the crowd were eased into the show via, 'Limits Lie' and 'Don't You Find', coaxing people into a moody singalong. By the time Jamie orders them into a frenzied dance during 'Operation', there's limbs flying everywhere and wafts of beer, sweat and nostalgia around. 'Salvador' and new track, 'Rabbit Hole' are met by the same ruckus before being juxtaposed by the most beautiful and refined song of the night; 'Emily's Heart'.

Tracks from debut album, 'Panic Prevention', see Jamie and the dedicated members of the crowd grow in more confident sing-a-longs to songs 'Ike and Tina' and 'So Lonely Was The Ballad', which split up the fresher but less memorable tracks.

As for 2009's, 'Kings & Queens', you can't help but feel that some of it's finest fruits have been neglected. Those that are included though, 'Man's Machine' and 'Spider's Web', pick up the pace as the band hurtle towards the encore. By the time '368' clicks into play, Jamie's guitar is out of sight and he bounces around the stage with mic in hand like a riled up freestyler.

Naturally, the classics get the most love. 'If You Got The Money' ends the show with coarse throats looking to swap their pints of lager for lemsip; a sign that Jamie's tongue-twisting lyrics really are an art. Most people found out the hard way, trying their best to keep up with a memorable ending of 'ma-ma-ma-ma money, ma-ma money oh'.

It doesn't stop there though as he returns from the shadows alone to perform an almost undistinguishable solo of 'Calm Down Dearest' before 'Zombie' sparks a second-wind amongst the crowd. It sits almost perfectly alongside older gems, 'Sheila' and 'Sticks n Stones', to keep an aura of nostalgia not felt for most of the crowd since their angst ridden teenage years. For the newer fans, they've come at a much tamer time in Jamie's career, but his more delicate spindling of the guitar isn't far off the foul-mouthed songs we all fell in love with all those years ago.

By Joshua Shreeve (@JJShreeve)

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Peace Play Surprise 100 Club Show

Surprises. They’re either the sweetest thing in life or sink like a led balloon. Last night’s surprise was thankfully far from the latter. It was very much a case of drop your plans and get off work to join the queues, Peace are in town. 

For those lucky enough to win tickets to the gig, announced just the day before, they made up a sweaty and cramped crowd whom the band rekindled their love with, after their array of big festival stage appearances over summer. Visitors to The 100 Club on Oxford Street would be blessed with not just Peace but two other acts as well; fellow B-town boys JAWS and Nottingham outfit, Childhood. Both washed the crowd in psychedelic groove and set up the main act of the night. 

They’ve learnt how to do these things now, Koisser and co. The setlist doesn’t look too dissimilar to that of their Birthdays shows almost 18 months ago, but it’s now been tinkered with and mastered. Their ‘1998’ cover kicks things off with it’s most spine-tingling of build ups and the well known songs are rattled off, the crowd growing in liveliness. There’s room for the new too. ‘Money’, ‘Lost On Me’ and ‘World Pleasure’ which are set to feature on their second album, all made an appearance. By the end of the set and ‘Float Forever’, the band were met on stage by sweat drenched teens mauling the various members, Harrison at the back trying to squeeze out the final lyrics and guitarist Douglas Castle hopping aboard the crowd.

After a few drinks and a chance to transform into his ‘pre-show’ clothes, I spoke to frontman Harrison Koisser about the show, their second album, and their future third album...

Hi Harrison, how’d you feel that went?

Really well, I thought it went good. It was a really good show.

It was only announced yesterday. Has it been planned for long?

No, pretty last minute, fairly last minute, not very long at all really.

Childhood and JAWS also played tonight, are you big admirers of them?

Yeah, they’re mates, we’ve been playing around with those guys for quite a long time, they’re beautiful bands.

Last year you played a string of shows at Birthdays in Dalston, how did this compare to that?

Yeah, this was quite similar to Birthdays in that it’s quite intimate. I prefer this to be honest, the Birthdays shows were alright but this was really good actually. We haven’t done a show like this in ages, it’s really fun.

You’ve done lots of festivals recently, do you prefer the bigger stages or smaller venues?

It’s two really different things ya know. I think with big festie shows we come off stage and don’t feel tired or drained. Whereas tonight you come off stage and you’re like woah! You’ve given everything to the show, so I dunno which is better.

I saw tonight you had to retreat to the back of the stage as the crowd spilled over...

Yeah, I wasn’t really sure what to do. I don’t really mind that, it’s just stuff gets broken so it’s like ‘I’m off!’

You played three of your new songs tonight. When can we expect the new record?

January. I’m pretty sure it’s January now, because we wanted to do it in August but the closer it got, we wanted to put out quite a bit of material before, and we put out 3 songs, maybe we should put out 4 or 5. Just try something new, get a lot of material out there.

Would you say this record’s evolved from ‘In Love’?

Definitely. I think we’re just exploring more stuff, different things, experimenting with different genres and stuff. We’re all a bit more musical now and we all understand what we’re doing a bit more. There’s a bit more groove on this record.

Are you intending on taking a break after this record?

Nah definitely not. I think we’ll probably tour for two years and then release another album, try and record it during that.

You’ve been pretty much non-stop over the past two years wouldn’t you say?

Maybe yeah. I think that’s the way to do it though isn’t it. While you’re young, just keep on releasing records and see where it goes. I mean the sound will probably evolve quite a bit. 

I’ve noticed you’ve changed your appearance since coming off stage. Do you have any post-show routine?

Yeah, it’s nice putting on a new pair of clothes, I’m energised again. I’ve gone into my after show look!

And have you got any plans to stick around in London for the next few days?

Yeah, I’m staying in London at the moment. I’m gonna do some more writing for the third album. It’s really weird writing for the third album before the second one’s out, but we’re doing that now so I’m gonna stay around for a few months until December.

So there you have it. Keep your eyes and ears open, ‘cos there’s no stopping Peace for now. See their setlist below:

1998

Bloodshake

Toxic

Money

Follow Baby

California Daze

Higher Than The Sun

Lost On Me

Scumbag

Wraith

World Pleasure

Lovesick

Float Forever

By Joshua Shreeve (@JJShreeve)

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Peace play three new songs on return to Reading Festival

Peace treated the crowd to some familiar tunes as well as three new tracks on their way to conquering the main stage at Reading Festival.

The Birmingham band have come on leaps and bounds in the past year, hopping from the NME/Radio 1 stage to the Main Stage at this year's Reading and Leeds Festival. Each member took to the stage to cheers from their now devoted fans, Harrison Koisser parading on last in a shimmering fur coat and golden guitar - his latest in a long line of striking festival attire.

Below cloudy skies that were refusing to break open, Peace opened with 'Lovesick' from their debut album before delivering latest single, 'Money'. In a set that consisted of ten songs, the band treated the crowd to their next upcoming single 'Lost On Me' in which Harrison sprouts ginger locks in the song's video, which have now just about disappeared. The distorted, whirring guitars are at an all time high and so are the band, looking more than comfortable with Koisser teasing the crowd, 'you remember how to clap along right?'.

Bundles of energy come in the form of familiar tracks, 'Higher Than The Sun', 'Wraith' and 'Follow Baby' from 2013 album, 'In Love'. Koisser declares 'let's get a bit soppy' before the tender riffs of 'California Daze' ring through the swaying, peace endorsing fingertips of the crowd, 'Float Forever', similarly providing another opportunity for a sing-a-long.

However, it's the new tracks that blow away the shackles of last year's confined NME tent performance. 'World Pleasure' is on another level to anything Peace have done yet. It's everything Peace are; fun, care free and harmonising but it's also an anthem, a Primal Scream loaded triumph that blows away 'In Love', not even 18 months later. By now the sun is fittingly out and 'Bloodshake' is the perfect book-end to another chapter in Peace's already short-lived rise to the top.

With their new album just around the corner, things are seamlessly perfect for Peace and it shouldn't be too long until we talk about them conquering the later slots on some of the countries biggest stages. Peace out.

By Joshua Shreeve (@JJShreeve)

Setlist:
Lovesick
Money
Higher Than The Sun
California Daze
Wraith
Follow Baby
Lost On Me
Float Forever
World Pleasure
Bloodshake

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Live Review... Rae Morris @ Wilton's Music Hall, London 1.05.2014

Set in a secretive stunning London venue down an alley that takes a step back to the past, there was a buzz about what was about to happen in the next few hours. Most people may have heard of Rae Morris before her appearance on Bombay Bicycle Club's single, or it may be a case of becoming a fan after that - everyone was still there for her. The woman with the incredible voice.

Following an overwhelming support performance from Half Earth, an artist to really watch out for, was never going to be easy for anyone; however it seemed that everyone knew Morris would take on the challenge to go one step better and take it to another level.

Bearing close resemblances to an early Kate Bush and reaching vocal powers similar to Florence Welch, Rae Morris took the crowd's breath away. Silencing the intimate venue to watch and listen to just what she had to say, each song would close with a roar of screams and a round of applause to voice the opinions of the audience that they found her to be one of the best. And that is not exaggeration - Morris managed to turn her singer/songwriter label in to something that may just be what we need at this moment in time. With several hints at disco/funk influences and a mix of upbeat to almost acapella tracks - each chord, beat and loop would compliment the vocals as they echoed through the hall, creating a feeling of empowerment and a force of nature.

"I've not heard anything like this in a real long time. She's incredible." A guy in the crowd whispered to me halfway through one of her performances. The night almost turned in to a celebration of talent and following a star from the very early stages because everyone walked away knowing there are big things coming for this young artist. It was clear that she could feel something too as she took herself out of the music and took moments to look around at the crowd and smile to herself, appreciating what was happening.

Rae Morris isn't just another artist who sings about love, heartbreaks and similar themes; there's a whole lot more to her music. There's no doubt about it that her live performances make an impact and that's where we could see her really coming in to her own. Either way, this is not an artist you want to miss. Take the opportunity now to explore her incredible abilities and witness the enchanted scenes she creates with her lyrics.

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Live Review... Temples @ Rough Trade East, 10th February 2014

Psychedelic music has never really disappeared but it hasn't made this much of an impact in a while and now with the début album out, it was only right Temples celebrated with an in store gig on the day of release.

Selling out just that afternoon after people flocked in to the popular indie record store to buy their copies of the album, there was a queue around the block to see the chillingly held-back quartet. Being withdrawn in their performances isn't a bad thing, as the crowd realised, the music was still just as powerful and distorted as normal but it's their hidden personalities that make their live performances even more special to watch. It allows people to question who the band really are and what they're about. They become a figure of sound and don't become a temptation to just focus on their personalities throughout the whole set.  

It was quite clear that this gig was going to be completely made of songs from the album, Sun Structures, and what a selection of songs they chose. From the song that shares its name with the album to popular six-minute tracks, each member demonstrated an ability to carefully construct their sounds to make it appear even better when being subjected to the trippy, individual forms that clash together to produce an outstanding collection of songs.

Temples are one of the leaders of the newer bands who are proving just why 2014 is going to be an incredibly memorable time for music as it revives itself and throws out excellent record after record. Whether they know this or not, it's almost impossible to tell. Characters aren't a big part of their band, they're almost a stripped back group who are ready to let everything else do the talking. Any interaction between the band and the crowd were minimal when we were told to “pipe down”, as a sarcastic dig at a silent audience who were, if similar to me, in awe of what they were hearing.

If there's anything you can learn from this leading band playing an in store gig on the day of their album release, it's that they're really bloody brilliant. It's Temples and they have just released a record you need to hear.

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