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Don Caballero

Scirroco, Madrid

9 Reasons why this gig ruled hard.

1. Three excellent musicians, concerned more with the tightness of sound rather than the tightness of denim.

2. No singer. Led instead by one of the best drummers I have seen.

3. High Riff percentage - was like the best bits of Slayer and Slint.

4. Even when they broke it down and went light on our ass, they still rocked.

5. The support band was Spanish and didn't suck.

6. They are called Don Caballero (pronounced Cabayero) - a cool name anyway, when translated it reads 'Mr Gentleman'.

7. The small venue was so crowded that a lot of people just gave up trying to see and sat on the stairs just getting into the music.

8. Their pre-gig rider appeared to consist of Twixes, Kit-Kats and Coca-Cola.

9. Hard Riffs + incredible drummer(squared) - singer x 1 1/2 hours = Awesome performance.

22nd Nov 2006 - 1 comments - Add Comment - Tweet

Midlake

ULU, London

The prospect of seeing Midlake live was an exciting one. The superb album The Trials of Van Occupanther is peppered with themes of nature, conjuring nostalgic feelings of the countryside and man's relationship with it. A bunch of grown men with gruffty beards singing delicately about nature is a wonderful juxtaposition. A juxtaposition reminiscent of Grandaddy perhaps, but to compare Midlake with Granddaddy would be wholly unfair - overlooking their own unique sound.

After strong support form Robert Gomez and Fionn Regan, Midlake took to the stage. The crowd went crazy when they started playing the single Rosco, and there were cries for a repeat of the same song. Every song was accompanied with some strange film in the background - some homemade, others seeming very familiar and possibly a Roman Polanski film - but don't quote me on that. The films really helped to bolster the song's strange eerie feel, conjuring a lost time and lost place. It was nice to see that the band were very humbled by the crowds' affection towards them, singing along to all their songs.

There's something strangely important about wanting to see a band we like live, but so often they never live up to the same sound quality we know them for. And particulary when you have a band that doesn't make 'jump-up' music, the sound quality has to be spot on. Sadly this wasn't the case at ULU. The gig itself was entertaining, but the sounds did no justice to Tim Smith's vocals and of course the songs lost much of their eerie magic. They ended the set with current single Head Home, perfectly apt and a crowd pleaser to finish on a higher note.

Luckily, I caught the band a couple of nights later, supporting the Flaming Lips at Shepherd's Bush... with much more satisfying results.

#Music
#Gig
#HK

16th Nov 2006 - Add Comment - Tweet

Yo La Tengo

The Forum, Kentish Town, London

Veteran Indie shufflers Yo La Tengo are in Europe this month, in support of both their recent album I Am Not Afraid Of You And I Will Kick Your Ass, and their soundtrack to the Will Oldham movie Old Joy, for which they made a panel appearance at the London Film Festival. For they London show they booked up The Forum, with support from post-rockers Minotaur Shock.

There was anticipation in the air from the muso crowd, which included to my surprise a heavy set tough-guy tout that I had seen outside. He was re-directing people who were blocking the view of others, and was ready for a punch up when one guy was chatting as the band started.

For a band with such a vast back catalogue, the show was dominated by ...I Will Beat Your Ass for a good 75%. After a beautiful I Feel Like Going Home and a jaunty Beanbag Chair we were straight into the 10 minutes epic Pass The Hatchet.

The band had the aura of seasoned veterans, and the crowd were loving it. Ira read out an amusing item from the Independent regarding the dangers of being a drummer (Bloc Party have unsurprisingly fallen foul) and warned that Georgia would be taking it a little easy' tonight, but thankfully that was not the case. Working the stage like a three-man-one-man-band (or even a Marx Brothers musical interlude - Ira would be Chico), they swapped instruments and tasks seamlessly, avoiding the tedious, self-important setting-up delays that so many bands seem to fall into. The variation ads another dimension to their show and they easily motored through inspired versions of most of their awesome new album - plus a handful of older tracks, including a great Don't Have To Be So Sad.

While Ira and Georgia seem to have all the fun, you can't help but feel sorry for James who definitely gets the short straw - repeating the same bass-line for 10 minutes, while Ira freewheels along like an indie Hendrix. Sometimes that freewheeling goes too far off the tracks, and the songs get just too strung out - dwindling into free-jazz territory, and it was hard not to notice some of the crowd developing visible headaches - me included. This was most noticeable on Blue Line Swinger. The song disintegrated into 10 minutes of jazz-feedback - and while it did pay off with a great finale as the rhythm synced out of the chaos, it's hard to know if it was worth it. Much like Less Than You Think, the poison pill on Wilco's A Ghost Is Born.

Although they were chatty and the crowd certainly seemed engaged, the band can seem rather distant on stage. When the audience stop stroking their beards and get more involved the band softened up and it became more of a rock show that a performance. The encore put the whole thing up a notch and was they highlight of the show - with the band returning to the stage and literally taking requests from the audience, a technique which might be useful more often. It seemed that the audience were universal in their choice of favourites, and classics like Autumn Sweater show this band to be truly magnificent.

14th Nov 2006 - 3 comments - Add Comment - Tweet

TV On The Radio

Koko, Camden

I find it near impossible to sum up the sound of TV On The Radio and when I try to think of an equivalent in order to aid my description I find myself stumped. But one thing I did discover in the majestical surroundings of Camden's Koko was that with two and a half albums strong this Brooklyn 5-piece know exactly who they are and what they are doing.

With it's numerous balconies dripping in ornate decoration and rising skyward to a huge revolving glitterball, Koko is a venue like no other and the view from the stage must either thrill or daunt any band. The addictive thing about TV On The Radio is their grasp of restraint. Their sound is so complex and threatens to explode but rarely does so I was interested to discover how this style would cope with a venue such as this. Dirty Whirl, a highlight from the new album Return To Cookie Mountain crept in humbly with hushed atmospheric sampling and front man Tunde Adebimpe's sweet whistling. This built up slowly and then the band unleashed their sound. It was the sound of twenty men and it was awesome. Adebimpe is the lynch pin to the dazzling show TV On The Radio offer. His theatrical dancing, thorough exploration of the space around him and inexhaustible passion and energy is electrifying and like nothing I have seen before. And his voice, well damn that boy can sing. Often constructing beautiful harmonies with guitarist and vocalist Kyp Malone, Adebimpe's voice more than filled the hall.

The stage seemed cluttered with the various machines that make this sound so unique. The standard drums, guitars and vocals are all fed through samplers, loops and distortions to produce a wall of sound that is oozing with texture. As expected Wolf Like Me was an instant highlight. As the only drum heavy, rock-out tune on the album this is as close as this band come to a standard song, so for it to emerge crisp and triumphant from the murky bog of noise was a delight to which the hungry crowd responded accordingly. Earlier songs like Young Liars were treated to the same extended format with the music slowly fading away to leave Adebimpe's exposed vocals to bring it to a close.

Not all the songs worked with the live treatment and this is due to the intricate subtleties that are so important to their sound not to mention the obvious sound problems experienced by Kyp Malone. I Was A Lover opens the new album with such hollow beauty, but that was lost here. The dense texture that is crafted around this song simply swallowed up the vocals reducing them to just another element in this texture. But this was a minor complaint and was soon forgotten as a free standing bass drum was brought on to the stage to herald the start of Let The Devil In. This was pounded on by at least two other band members as the crowd were encouraged to sing along. Adebimpe opened the song with dulcet vocals only to produce a mega-phone which he proceeded to shriek into as more and more previously unnoticed musicians joined the stage beating a myriad of cymbals, drums, tamborines, you name it. The result was a near tribal stampede of sound that refused to stop. It built and built to epic proportions and launched this gig into memorable territory.

After the dazzling My Morning Jacket show in September I got to thinking, "What separates the good gigs from the great gigs?" I have seen many a great band showcase their back catalogue with expert precision but have often been left feeling slightly flat. These gigs were as good as their albums, but the great gigs go further and make you feel like you are witnessing something specific to this moment, something spontaneously crafted and bigger than the music. This is what was happening at Koko that night, a live event that would be lost in any other format. All too often I leave a very enjoyable gig but mentally tick that band as 'done', the opposite was the case here and as I emerged from my grand surroundings into a rainy night I hoped this would not be the last would see of TV On The Radio.

13th Nov 2006 - 1 comments - Add Comment - Tweet

Tapes 'n Tapes

King's College, London

Minneapolis' Tapes 'n Tapes reminded us to keep them in contention for album of the year last night, with another top notch set at London's King's College. The packed out venue enthusiastically received the band, as they barnstormed their way through most of debut album The Loon, as well as a healthy portion of their earlier EP.

The band are gifted with a boundless enthusiasm that is hard to resist. Singer Josh Grier and bassist Erik Appelwick have a great rapport on stage, playing off each other and encouraging the mood to get messy. The sound was not always great, meaning some of keyboardist Matt Kretzmann's contributions (such as the child-friendly 'ooo-ooh's' on The Iliad) were a little lost in the mix, but things were back on track for the tuba infused Manitoba. Matt Kretzmann's contribution and boundless energy is substantial - whether it's on keyboards, vocals, tambourine, or even just somebody else's symbols. His antics are up there with Pavement's Gary Young when it comes to moving around the stage, and I'm thinking that Josh Grier probably needs rear-view-mirror's attaching to his mic stand to keep things in check.

The songs speak for themselves however, and the fleshed out sounds of The Illiad, Omaha (mp3), Manitoba, Cowbell (mp3) and more are unbeatable. Beach Boys (mp3)and Iceberg (mp3)from the early EP were also sounding great, with the level playing field of a live show letting them stand up with the later work.

Insistor (mp3) was the start of the end, reassuringly awesome as always and cut through with the bulletproof spine of Jeremy Hanson's military drumming - possibly the star of the show. It was Crazy Eights that finished it off though, elevating the track from potential album-filler to live-killer. A thundering instrumental break down, which brought the show to a fitting finale and reminded us to keep these boys on heavy rotation.

9th Nov 2006 - 2 comments - Add Comment - Tweet

Cat Power

The Roundhouse, London

I arrived with mixed feelings about tonight; I had been a moderate fan of Cat Power before being rather taken by her latest album, The Greatest. I had heard the rumors that live, she blows very hot and cold; sometimes enlightened, sometimes frustratingly shambolic.

Then to confuse matters further, the 11-piece band take the stage and launch into a Charlie Parker-style jam. Although compelling, it is completely unexpected and proves to be something of a curve ball from what follows. Much chin stroking ensues.

Cat Power aka Chan Marshall then sheepishly ambles on stage - clutching a mug of tea, looking not unlike a cleaning lady who has taken a wrong turn. Then things begin to make sense, both the music and the preconceptions that I had had, as the band launch into Living Proof. Immediately striking, her voice proves to have other-worldly qualities and absolutely stunning and yes, Marshall herself is restless and quirky but endearingly so. However the strong and tight ensemble of musicians prove to be a muscular, well drilled, accomplished and much needed foil for her.

Later, the band leave the stage and she sings alone, accompanying herself on piano, then guitar. There is a plaintive I Don't Blame You and she turns The Animal's-owned House of the Rising Sun into a mournful strum. In this intimate setting she truly excels herself. The band then return for a rousing finale, including a reinterpretation of Satisfaction as a soulful blues stomp, to great effect. Thrilling stuff.

So, she is great after all.

3rd Nov 2006 - 2 comments - Add Comment - Tweet

The Raconteurs

Brixton Academy, London

I could've sworn The Raconteurs have only made one album. After last nights show I felt I should go home and Google these guys to see if Broken Boy Soldiers wasn't their fifth due to the rapturous reception they got from the adoring Brixton crowd. And no one went home disappointed. Although opening with Intimate Secretary, the albums weakest track, Brendan Benson and Jack White's band put on one hell of a show making a sound so loud that if it wasn't for White's shriek the vocals would have been all but lost.

As on the album Benson is a solid performer but tends to assume the role of the straight guy when put next to the charisma and on/off mic antics of White. Whether he's being a Raconteur or a White Stripe, Jack White is electrifying to watch. Holding the guitar like it's an extension of his arm and with frequent visits to the front of the stage, guitar held aloft this concert was on the verge of becoming the Jack White show.

With only 10 songs to their name and each one getting aired, the order of the night was guitars - with each song being extended in length, volume and intensity. Forthcoming single Broken Boy Soldiers was, as anticipated, the standout moment - with White retreating to the back of the stage to shout the repeated line "The boy never gets older" into a voice distorting mic but the funky-as-hell Level and the gut punching, sonic boom of Store Bought Bones came in a close second. They even threw in a few covers - Gram Parsons and a mammoth rock opera loosely based around Nancy Sinatra's Bang Bang.

The crowd favorite Steady, As She Goes came soon after the encore and was so huge I was sure this would be the finale. But Blue Veins was to close this rock extravaganza and although I questioned this rather downbeat choice, it was given the same amped up treatment as the rest with White and Benson playing the blues something special. This was the final moment for Jack to show his masterful grasp of his instrument as his guitar gently wept and all over Brixton dogs pricked up their ears and cocked their heads.

I fear this performance may have ruined the album for a lot of people as the beefed up power of the live songs leaves the originals sounding positively anorexic. The only complaint would be the 'one album' thing and the drowned-in-sound quality you sometimes get at The Academy but apart from that this was an electrifying show of two musicians in complete control of their instruments and really loving their side project. You would have been forgiven for thinking that this was Led Zeppelin's farewell tour as the band bowed, arm in arm, at the front of the stage to a deafening applause that continued long after they had departed.

21st Oct 2006 - Add Comment - Tweet

Camera Obscura

The Scala, London

October 18th 2006

Famous mainly for an illegal screening of Clockwork Orange in the 80's, former London cinema the Scala has got to be one of the best places to see a band. Often a last stop for bands heading onto the higher peaks of The Astoria or Brixton Acadamy, many favourites have had great shows here - DJ Shadow, Low, CocoRosie, George Hurley and Mike Watt supporting Shellac...

Scottish indie popsters Camera Obscura's sound is perfect for a venue like this. Enchanting and intimate, Tracyanne Campbell's vocals fall somewhere between the brooding darkness of the Cocteau Twins and the lighter sounds of The Sundays or even The Cardigans.

Mostly playing tracks from their latest album Let's Get Out Of This Country, the bands sound has become focused and upbeat and the band have an accomplished live show, based on 10 years of playing together - as well as numerous sessions with fan John Peel.

Whether it was the sublime Tears For Affairs, or the fluffy ephemeral Lemon Juice and Paper Cuts (a line from Lester Bangs' biography) the band were always in control and always connected to the well behaved audience. Let's just hope they don't get any bigger and leave us behind for more distant peaks.

#Music
#Gig
#NM

19th Oct 2006 - Add Comment - Tweet

The Early Years

Cargo, London

After being won over by their debut album, London's The Early Years have put themselves in a dangerous situation where I am starting to believe the hype. Having been under-whelmed by bands with only one album before, I was slightly apprehensive... but was not disappointed.

Opening much the same as their album, the band's show started without anyone really noticing. One minute they were tuning up, the next you're being punched in the guts by a pummeling bassline. Like a post-rock metronome, thumping the listener into submission.

With pedals and effects to rival Jonny Greenwood, David Malkinson and Roger Mackin build up slow layered sounds with gentle lyrics. Backed by the excellent drumming of Phil Raines and a ferocious strobe light, words are often abandoned in favour of the dual sonic attack - with tracks like Brown Hearts.

Recalling My Bloody Valentine or Ride in approach and sound, the band have a late 80's / early 90's vibe, but thankfully they are stylist free. They cite Tortoise and Can as influences, which fits in nicely with my current direction so I'm more than happy.

There were a few minor sound problems which stilted things a little bit, but while the band's stage schtick was a little lacking that will only develop with time. For now time was nearly up, but although they only played around 5 songs they were stretched out to an impressive 45 minutes.

Things wrapped up with A Simple Solution - probably the best track on their current album. Hopefully it will soon be eclipsed by newer, further greatness and will be relegated to being their Creep. With talk already of a new EP of material The Early Years seem destined for great things, shaping up to be one of the best new bands of 2006. I look forward to claiming that I never doubted them.

19th Oct 2006 - Add Comment - Tweet

Brakes

The Luminaire, London

Brighton's Brakes dazzled a Myspace friendly crowd at Kilburn's The Luminaire last night with their country-punk antics. It was a night of great new music with Blood Red Shoes providing a truly memorable performance before hand, but when Brakes opened with the 30 second punch in the face of Hi How Are You you knew this was a band with more experience and confidence than anything that had gone before. Their timing was tight, their guitars loud and the shaved head of front-man Eamon Hamilton repeatedly displayed a near to bursting vein. Although old favorites like Heard About Your Band and All Night Disco Party from Give Blood sounded fantastic and caused frenzied cheers from the crowd, the songs from the new album Beatific Visions seemed fuller and more focused in comparison.

Album openers Hold Me In The River and Margherita had might and weight that made the blink-and-you'll-miss-them punk ditties seem like musings of a band long gone, but the soon-to-be live favorite was the vein throbbing, spit propelling onslaught of Porcupine or Pineapple?. Introduced as one of the songs they recorded on a recent trip to Nashville the line "Who won the war, what the fuck is it for?" was delivered with such jaw dropping venom that you wonder how these boys were received in those hallowed lands.

All in all Brakes displayed an energy and urgency that was great to behold in such an intimate venue and with a band full of look a-likes ranging from Goldie on vocals, an allergic Pete Doherty on guitar, Will Ferrell on bass and Chris Martin on drums Brakes put on one hell of a show that will keep your ears ringing and bleeding for some time to come.

17th Oct 2006 - Add Comment - Tweet

The Black Keys

Le Trabendo, Paris

October 5th 2006

In a postmodern world where everyone sounds like someone else, The Black Keys are pretty easy to pigeonhole. Sitting somewhere between The White Stripes and Wolfmother, they take heavy blues and run with it. And thats about it. "I woke up this morning" nah, nah, nah, "Tied up my shoes" nah, nah, nah. They don't have the inventiveness of The White Stripes to make only being a two piece their selling point, and they don't have the punishing power and speed change fun of Wolfmother - preferring the slower heavier, sound.

None the less, it was an entertaining show. Although there is little variation between their songs, and there was little stage chat or interruption, that one hour long smoky-blues-jam that they played was a good one. They obviously love what they are doing, and they do it well. There was power and passion and the venue was electric with the enthusiastic, well behaved, civilized Parisian crowd. Hats off to opening band and Black Mountain side project Blood Meridian too. They warmed things up nicely with their own band of bluesy rock ...and they spoke a bit of French.

6th Oct 2006 - 4 comments - Add Comment - Tweet

The Broken Family Band

La Boite, Madrid

A good live show has to offer something more than simply loud renditions of familiar tunes. This could take the form of plenty of long haired extended jams, a la MMJ, or perhaps some audience participation and a nice line in dark humour. The Broken Family Band fall comfortably into the latter. Onstage just before midnight in this cosy Madrid venue (which turned into an incredibly camp disco afterwards) singer Steven Adams is a funny guy ('funny how? You know, the way he tells a story') as anyone familiar with their albums will no doubt already know. They played about an hour and a half of their particular brand of twisted country music (via Cambridge) taking in Banjo solos, Acapella singing and good solid rocking out along the way, as well as banter and jokes in-between songs (and the songs themselves) including some sort of explicit mobile message played over the mic. A highlight being Alone in the Makeout Room with part time banjo player and beer-getter Tom/Ben(?) filling in the role of the female, whilst Adams added some rather rude lyrics definitely not on the album. Great tunes, good lads. "It's a Hit" say the critics!

1st Oct 2006 - Add Comment - Tweet

Pearl Jam

The Point, Dublin

Having seen Radiohead earlier this year, and with My Morning Jacket coming up in September and MC Hammer in done 1990 only Pearl Jam and Wilco remained as the pillars of my music taste yet to be seen live. Now, after one memorable night in Dublin, Wilco stand alone.

This could have gone either way, as I have been into this band since I was a kid and although I love the new album it rarely gets played when a Pearl Jam mood grips me - often losing out to such classics as Vitalogy or No Code. I was quite surprised to find myself at the front of a seething mass of frenzied fans as I thought it was just me, CSF and a few other Chimp affiliates that still followed this band. Apparently not. Even though the Dire Straits sounding Inside Job is far from being my favourite track on the new album I was very grateful to hear its slow steady build up as the opening track. Had a more anthemic opener been chosen I fear my rib cage would have collapsed under the pressure of 7000 foaming, sweaty fans. This calm intro didn't last long as the band began to race through a string of the best of the new stuff, with the mighty World Wide Suicide being a crowd favourite.

From then on the order of the day was 'hands-in-the-air-platoon-moment-classics,' and it was simply dazzling. Given To Fly had the fans in a blissful state of euphoria and the wonderfully extended version of Daughter was followed by the live favourite Better Man which saw Vedder's voice being drowned out by the swell of a 7000 strong sing along which couldn't help to send shivers down the spine. As if this wasn't enough the first act was brought to a climactic finish with the phenomenal Rear View Mirror, Pearl Jam's finest moment in my opinion. It's a pretty epic song at the best of times, the bands Bohemian Rhapsody if you will, but tonight it was extended beyond my wildest dreams. It dipped and soared and seemed as if it would never end until finally it burst into a climactic crescendo with every light in the house being called upon.

Two encores later and just about every classic you could possibly wish for (including a cover of Dublin favourite The Boys Are Back In Town by Thin Lizzy) and I was truly exhausted. Every time I was fortunate enough to catch a glimpse of Eddie Vedder through sweaty bodies and other peoples wet hair plastered across my face he looked to be having a really good time. Lots of banter with the crowd made us feel that this was an important night for him and the band as well as us, and after a lengthy rendition of Neil Young's Fuckin' Up Vedder thanked the crowd for welcoming them back after six years and humbly departed the stage.

It was clear to see the bands unity after 15 years of playing together as they often huddled together and jammed furiously, as if alone in this great hall. In true Donnington Monsters of Rock style they all stepped aside during Even Flow for a five minute Matt Cameron drum solo which was simply ossum. My only criticism was the shear size of the venue. I gave up fighting for my life while straining to see anything along time ago and even though it beats sitting it's far from ideal. Apart from that it was everything I expected and much, much more.

25th Aug 2006 - 9 comments - Add Comment - Tweet

Tapes 'n Tapes

Madame Jo-Jo's

A great set from apes 'n apes favourites Tapes 'N Tapes. Pretty much a one-albumitis gig, but The Loon's good enough to hold up live. Drummer totally on it, rest of the band looked like they were enjoying it as much as the chimps. Worth catching if you can.

23rd Aug 2006 - Add Comment - Tweet

Spinto Band

Fopp, Camden, London

In the abscence of dark lighting, a PA system, a raised stage and alcohol - the Spinto Band sounded like a bunch of special kids let loose in music class. Plus, we were the oldest there by about ten years.

15th Aug 2006 - Add Comment - Tweet

M. Ward

Bush Hall, London

Wandering onto stage looking like Paul Giamatii's lost brother, M. Ward instantly dispelled my preconception that he would be a mannered or uneasy performer. He opened alone on the guitar with 'Paul's Song', that was as plaintive as it was capturvating. The small and intermate Bush Hall was a perfect setting.

Like all great music M. Ward instantly reminds you of many things, that somehow you cannot quite put your finger on. His guitar playing has something of John Fahey about it and his voice has echoes of Tom Waits and Billie Holiday. I could well be wrong though. But he most definitely is his own man.

After this stunning opening he was joined by his full band and demonstrated that he has many other strings to his bow. Where the opening was gentle and almost sedate the band ripped through a rousing 'Four Hours in Washington' and a storming version of the great 'Big Boat'. Although he played most of his excellent previous album 'Transistor Radio' and previewed songs from the forthcoming 'Post-War', Ward left the stage after an hour and a bit, which felt all too brief to me. And there was no 'Hi-Fi'.

Still great though.

Click here for pictures.

14th Aug 2006 - Add Comment - Tweet

Animal Collective / Battles

Astoria, London

Mogwai covering Four Tet or Matt Sweeney backed by DJ Shadow - I can't quite think how to sum up Battles. For certain, they were utterly compelling and instantly distinctive. In fact I have never been so mesmerised by a support band. They had the ability to take their muscular riffs and take them to unexpected places whilst never becoming indulgent or anything less than immediate.

Then came Animal Collective, who confused and frustrated like no other: I guess that may have been the idea. On record they manage to sound both abstract and dizzying - yet always carried by the unerring ability to find melody and structure in even the most far reaching places. The lightness of touch that graces both Feels and Sung Tongs was somewhat lost live. Songs merged into an indistinguishable mire of noise and monotony - and only occasionally to any effect. Although the crowd seemed to bestow endless goodwill towards them there was a general air of perplexity. Only on the great 'Did You See the Words' did things finally fall into place.

But despite these frustrations, you can't help but admire Animal Collective. They are utterly unique, fearless and challenging. It just hard to know what to make of it all - they are undoubtedly a brilliant proposition on record and in lead singer David Portner they have a twisted Tim Buckley-like voice that can take a simple refrain and take it to extraordinary places.

Enjoyable? Hardly; Frustrating? Always.

14th Jul 2006 - 4 comments - Add Comment - Tweet

Clap Your Hands Say Yeah

The Forum, Kentish Town, London

We've been loving the Clap Your Hands album this year, so were looking forward to this gig at The Forum (high on the favourite venues list). Support band The Boy Least Likely To... sucked, following the recent "branding+website+aren't-we-wacky, c'mon sing along=boy least likely to be bought by me" formula of quite a few UK bands. Once they were out of the way and most of the balloons had been popped the show really started. Clap Your Hands were kind of as expected (with the exception of the Scarecrow hat and actual country styles) - serious but not too serious, straight down to business and thoroughly holding the crowd's attention. They were soon onto the one of my favourites, In This Home On Ice - and the crowd were loving it. Almost every song seemed like your favourite, including several new songs - all sounding good. The band few us a few red herrings, starting songs with a bit of blues finger picking before rolling into Is This Love, or stretching things out. The sound didn't seem to do much to lift the muffled lyrics out of the music at first, but pretty soon everyone was picking out the zeitgeist (sub: please check my grammar) highlights, like sex, and drugs, and rock and rock and rock and rock and roll. Lead singer Alec Ounsworth didn't have much to say, but the couple of the other guys chipped in now and then with some banter and a couple of song introductions.

One thing I did overlook when anticipating this gig was my own rule of not seeing bands with less than three albums under their belt - and that's where these guys loose points. They were undoubtedly great performers, putting in amped up performances of nearly their entire album, many of which are already near classic songs.... however, take away the two skimpy ditties and the entire album clock in at barely 35 minutes. A not-enough-songs scenario ensued, with the band huddling between nearly every song to discuss how to proceed. They did everything you'd expect, and while the new songs were certainly good ("Satan Said Dance" in particular) they were still unknown, not bringing anything like the same crowd response as Details Of The War or The Skin Of My Yellow Country Teeth. A harsh critic may say it was like seeing Radiohead in support of Pablo Honey, where they were playing mystery songs of their forthcoming album second album. A more generous one may say it was like seeing Oasis just before Definitely Maybe.

The awesome Upon This Tidal Wave Of Young Blood has always had the promise to be stretched out as a 10 minute Free Bird -style jam, and it looked briefly like that might close the set, however an enthusiastic stage diver managed to unplug Alec Ounsworth's guitar, bringing that dream to an somewhat abrupt conclusion.

The band came back on with a new song (or was it a cover?) and although the encore was padded out with the un-listenable Clap Your Hands even that song sounded good live, before Heavy Metal finished the set and upped it's position on the grid.

Looking forward to the "Sophomore Plus" world tour of London.

Click here for pictures.
www.clapyourhandssayyeah.com

11th Jul 2006 - Add Comment - Tweet

Bob Dylan

Cardiff

I'm not quite sure why you would, if playing just two UK dates in 2006, choose Cardiff and Bournemouth, but there's little point in trying to figure out how Bob Dylan's mind works. Last night's Cardiff show was a competent, solid, but slightly predictable affair that left me longing for the spontaneous magic of the 2003 Hammersmith show to which Chimp71 was kind enough to take me. In fact, when one of the highlights of the evening is spotting Paul Morley in the queue, you know that you've witnessed one of those dreaded 'average' Dylan shows. There were some lovely moments – 'Ballad of a Thin Man' and 'Cold Irons Bound' were delivered with real verve, and the beautiful arrangement of 'Girl of the North Country' that he does these days is always a joy to hear – but many of the songs ('Positively 4th Street', 'Absolutely Sweet Marie', and 'Watching the River Flow', for instance) were decidedly lacklustre. What really depressed me, though, was the predictability of the set list, which was far too close for my liking to the one wheeled out for last week's Irish shows. If you look at the running order of last night's gig against that of Sunday's Cork show, for instance, you'll see that the first three and the last five songs are exactly the same (and in the same order, too). When you've got a back catalogue as extensive as Dylan's, this is unforgivable (and it's the reason that I haven't been to see Van Morrison for about four years). There's a new album, Modern Times, coming in August, though, and it's five years since the last one appeared, so perhaps before long times will be a-changing for the better.

Full set list:
Maggie's Farm
She Belongs to Me
Tweedle Dee & Tweedle Dum
Positively 4th Street
Stuck Inside of Mobile with the Memphis Blues Again
Love Sick
Watching the River Flow
Ballad of a Thin Man
Absolutely Sweet Marie
Girl of the North Country
Cold Irons Bound
Don't Think Twice, It's All Right
Summer Days

28th Jun 2006 - 1 comments - Add Comment - Tweet

The Wedding Present

Koko, Camden

A great set from The Wedding Present tonight at Koko. Didn't get around to catching them when they were john peel's other favourite band, but karaoke cowgirl assures me they were just as good. Quite glad we didn't fall into the mosh pit this time around though, as it was in full flow from the get-go. No Interstate 5, which was what i was really holding out for, or Felicity, but excellent versions of Brassneck and Mars Sparkles Down On Me both made up for it. And no encore either, which I didn't quite believe until the lights went up and everyone started piling home.

9th Jun 2006 - 5 comments - Add Comment - Tweet

Stuart A. Staples

Bush Hall, London

In support of his latest album Leaving Songs, Tindersticks' Stuart A. Staples played this small show in London, as well as a few dates around Europe.

The show started off well, with my current favourite song Old Friends No. 1 setting the pace, before moving onto a healthy chunk of the new album and 2004's solo album Lucky Dog Recordings, such as Marseille Sunshine, Shame On You and Already Gone. Staples was backed by superb drumming, a keyboard, lead guitar (from Tindertsicks) and double bass - and when the band was at full steam they were superb, like rock and roll Mariachi's (check surveillance for a drumming clip).

Although Staples seemed a bit under the weather it seemed more likely to be hayfever or flu, rather than the whiskey. Where early Tindertsicks songs seemed drunk, troubled and biographical, his solo material seems more general and is presumably informed by more current experiences. Like Hal Hartley's lack of good movies since he was married, perhaps the happiness of later life has put the fire out. The raucous days of Whiskey & Water somehow seem likely to have been replaced by a self-imposed night on the study sofa after too much congnac.

Although he was determined to play only his solo stuff (apart from one Townes Van Zandt cover - Sixteen Summers, Fifteen Falls), you could tell that the crowd were hoping for the nostalgia of a few Tindersticks favourites. Where certain bands (e.g. Radiohead) seem to keep moving forward and enlisting new fans, other bands seem to retain the same dwindling set of loyal fans - who just grow old together. Where this can make for a fantastic loyal atmosphere at a concert (e.g. The Wedding Present), in some cases (Fugazi included) it can just mean that the energy has gone from the crowd, leaving a subdued performer - unsure of how things are going. As Staples himself commented "I have no idea if you are enjoying this or not."

Click here for more pictures.

8th Jun 2006 - 1 comments - Add Comment - Tweet

Zappa Plays Zappa

Manchester Apollo

finally getting to hear zappa's music live is a pretty special thing if you've grown up with it, and I assumed it wasn't going to be possible after the great man smoked his last cigarette. wasn't quite sure what to expect with this dweezil zappa-fronted band - mawkish nostalgia? natalie cole plays nat king cole style weirdness? slightly embarrassing outing from someone who can't actually play as well as frank?

the set starts with some live footage of zappa and the mothers from the 1973 live at the roxy set - montana and another one i hadn't heard before (there's always the odd fifty albums or so to catch up with in the zappa archives)... then as frank retunes his guitar, dweezil and the band walk out, and kick into a storming version of hungry freaks, daddy followed by help i'm a rock - tracks i really thought i'd never hear live.

things just kept getting better from there - great sound, the band have been seriously drilled by dweezil (who's also nailed the style of frank's solos - inca roads was truly awesome - not a note-for-note transcription, but like he's absorbed the sensibility of the zappa tone and is channeling him on that trademark SG) - he's got them to the point that zappa had with his bands where he can direct them to change time signature, feel, who's soloing etc etc with a hand signal - jumping from bass to sax mid-bar - really impressive musicianship, but also highly entertaining (yes, humour DOES belong in music when the jokes are this good). having napoleon murphy brock who sang on loads of the 70s classics made it even more authentic - he's the voice of that great era, and is a real performer, as well as a great sax player.

the only downer came when the power on dweezil's mega guitar rig disappeared. rather than throwing a strop about it, he kept the audience in the loop, looked visibly disappointed and apologised profusely - you could tell he just wanted to put on the best show possible for his dad's fans, and the fact that the ability to switch from one cool sound to another was going to throw him off his game. the band launched into pound for a brown which they hadn't tried before, but eventually they had to power down the whole venue to sort it out.

bar time.

this could have been a drag, but the fact that they then came back with steve vai for some extra insanity on the solos front made it all ok. having someone who can literally do anything on a guitar is sometimes too much, but in this context, where the rest of the band are up to the challenge of making zappa's avant garde rock work, it's what you want. squeezing crazy notes out of his signature ibanez jem guitars, he's a joy to watch, freaking out, noodling at 100 miles an hour, then trading licks with dweezil in a real guitar-fest showdown. actually prefer dweezil's solos, but it's pretty cool to see someone going that far out. as chimp north points out, vai's the devil to dweezil's ralph macchio in crossroads.

the time lost meant that we missed out some other highlights that they had planned like city of tiny lights which we would have loved to see. also no terry bozio who has been playing trying to grow a chin, i'm so cute etc from the sheik yerbouti era.

but we did get to see them trying something they hadn't before - the screen dropped down, to let frank back on stage, filmed in a nutty 80s jumpsuit - soloing with dweezil's band playing. bit elvis, but still cool.

giving it 4.5 due to the lost time etc, but we're not holding it against them. if you love zappa, this band are kiling ugly radio.

other trivia facts from chimp north:

he's playing an SG because that's what he thinks of when he thinks of frank playing and it gets him in the frank zone
they're not frank's actual guitars though - didn't want to risk losing them on tour
they're in talks with gibson to produce a signature zappa model.

ps pic from manchester coming soon…

2nd Jun 2006 - 1 comments - Add Comment - Tweet

The National

Koko, Camden

"The English are waiting and I don't know what to do." Sings Matt Berninger of The National at Koko last night. This line seemed all too true for the charismatic lead singer who looked visibly stunned and overwhelmed at the rapturous applause that greeted him and his band. While cracking open a bottle of champagne he admitted, "this is the first time we have played to this many people who have just come to see us." I too was quite surprised at the frenzied response to every song and the general hysteria that resided in the hall that night. And it was well deserved.

Opening with the glorious Secret Meeting and just about playing every song they know, as well as a few new ones, this soon evolved into a truly stunning and memorable gig. It's such a treat these days to see a front man with a personality, who is genuinely reacting to the passion and emotion of the songs - rather than assuming an act. On songs such as Daughters Of The Soho Riots, Berninger whispers into the mic as if he was holding his lover, his hands gently yet firmly clasping the neck whilst he pours his heart out as if they were the only two in the room. In between verses and songs he would pace around nervously, biting his nails like a troubled man waiting outside his lovers door, rehearsing the devastating words he is about to utter. After screeching the repeated mantra 'My mind's not right' on Abel, Beringer looked genuinely shaken at the power of his own voice.

As is often the case at great gigs, the crowd is treated to revamped and reworked versions of familiar favourites. The achingly beautiful Wasp Nest smouldered like the cigarette permanently burning between Berninger's clasped fingers, then gradually rose to a mighty crescendo that morphed into the awesome Murder Me Rachel. The highlight of the set, and the moment that brought this gig into four-star territory, was the mighty Mr November. If much of the night saw Berringer straining to keep his emotions under wraps, this was the point where he lost the fight. Clearly feeding off the crowds unified and deafening chant of "I'm the new blue blood, I'm the great white hope," the front man gave it all he had, screaming over and over "I wont fuck us over, I'm Mr. November." Fantastic. And all this while being flanked by two twin hobbits from Lost's Driveshaft.

Click here for more pictures, and here for a review of November 2005's gig at ULU.

1st Jun 2006 - 1 comments - Add Comment - Tweet

United Sounds of ATP

Camber Sands Holiday Centre, Sussex

Before going to the All Tomorrow's Parties music festival (at Pontin's Holiday Camp) I wasn't sure what to expect - and leaving a few days later I'm still not sure what I made of it all. Staying in a chalet as opposed to a tent had it's obvious benefits, especially as the rain was fairly relentless the entire weekend - making those swimming trunks I packed optimistic at best. But the constant grey skies and rundown look to the place gave it an Apocalypse Now feel - a surrealness not lightened by having to negotiate 'Funland' to get to the bar (my funland). The winner of ATP however, is that it truly is all about the music. Each headlining act allowed to choose their favourite bands to play bill - so the opportunities to discover something new were high.

Day 1
So heading to stage 2 (downstairs) on the Friday and lifted by the news that Guinness was coming in at a reasonable £2.70 a pint, The Magik Markers were a good place to kick things off. I'd read a bit about this Hungarian/American three piece and was definitely loving the fact they only played two songs in their 40 minute set (I preferred track 1) allowing me to catch up with mates, whilst dipping in and out of their (at-times) fairly rocking jam sessions. I was told however, that Dead Meadow upstairs (stage 1 of 2) were awesome, with a particularly excellent drummer -a vital ingredient for any self-respecting rock band. So upstairs we went -happy with the fact you could walk to a fairly good spec in the crowd relatively hassle free. Broken Social Scene were excellent -the surprise package of the weekend. I'd heard the name, but didn't really know their sound - they reminded me a bit of Mercury Rev - how they would allow a euphoric brass section to creep up and get you grinning by the end of each song. Also, it's the sign of a great band when you are thinking 'There's no way they can top that tune' then halfway through the next you've already forgotten the previous one (if you know what I mean). We were also treated to an early glimpse of Friday's curator J. Mascis - with long grey hair, shades and adidas shell suit. The man is a hero. He came out for a bit of a guitar duel with Broken Social Scene. Odds were stacked heavily against BSS though, as J's guitar sounded like it was turned up to 14, drowning out allcomers. Still, that whetted the appetite for Dinosaur Jr. later. Next up, indie stalwarts Teenage Fanclub. Although they opened up with personal favourite 'Mudhoney' I thought I'd go and check out The Brian Jonestown Massacre instead. Shouldn't have bothered. I liked their music in Dig!, but they were a bit boring really. I guess I was as guilty as many others, down there for the 'Car Crash' effect - waiting to see if Anton Newcombe was going to crack and kick anyone in the head (he didn't). I was told that Teenage Fanclub were great though - fair play to those lads.

A drum kit flanked by 10 Marshall Stacks; Dinosaur Jr made their intentions clear from the off. They were extremely loud, but equally awesome. What happened to Lou Barlow? From nerdy Sebadoh boy, to some sort of pumped up uber-bassist - he easily promoted himself to Lead Bass in my fantasy super group. A fairly healthy split between Lou's and J's songs - with all the 'hits' in there, they are certainly a band I'd make every effort to see whenever they are in town. A blinding set to round off day one.

Day 2
The day started with a hair of the dog in the pub at twelve and ended 17 hours later being kicked out of the ATP disco. As a result, my memories of Saturday's bands are sketchy at best. The Fiery Furnaces were pretty good. Spoon reminded me of Wilco, but didn't really do enough to lift me out of my stuper. Main act Sleater Kinney were really good though (I think). They certainly rocked the house, with some powerful drumming being a prominent recollection. Worth checking out more of their stuff to plug those holes. Highlight of the day though has to be R Kelly's bizarre Hip-Hopera 'Trapped in the Closet' - showing on the ATP TV Channel (each headliner also gets to create a days schedule of TV). A 40 minute epic with R. Kelly lending his golden tones to the story of various dudes getting caught with each other's girlfriends and threatening to blow everyone away and shit. Was it for real? Who knows - but he did rhyme Bridget with Midget (the midget in question, was uncovered hiding in a cupboard by a policeman returning home early to his wife - bizarre indeed, but try and check it out).

Day 3
With the rain still coming down and the hangover a large one Sunday was always going to be about re-grouping. So, finding a spot on the back wall to nurse some beers was the order of the day (although this is obviously much more pleasant on a sunny last day of an outdoors festival, as opposed to an airtight bingo hall after a three day rock festival). To be fair to the bands, it was going to take something special to rouse me from that position. Aussie band The Drones had a good stab with their better than average pub-rock. The Decemberists were clearly a crowd favourite, reminding me a bit The Levellers, Placebo and the Polyphonic Spree - but not at all as bad as that sounds. They did manage to get the whole crowd to sit down for a quiet number (no problems for me) then getting them back up for a rousing finale. The lead singer of 70's style rock Dungen also played a flute. Then the highlight of the weekend, The Black Keys. Two songs in and I was up off my ass and into the crowd. The drum and guitar two piece played heavy blues and once again made me wonder what all the fuss is with the White Stripes. Following them was going to be extremely tough and so it proved for biggest disappointments The Shins. The band I was most looking forward to seeing, as I'm a great fan of both their albums, were let down by a number of circumstances. Following Black Keys, early sound troubles, being shy and too quiet. They almost lifted it a couple of times but not enough. Maybe I hit a wall, but I never thought I'd be walking out of The Shins early. That was that - some serious drinking and some damn fine bands. The music-first policy is clearly a winner, could do with a bit of sunshine though.

Probably worth a 4, but the rain and my own laziness in not checking out other bands knocks it down a half.

Top 5
1. The Black Keys
2. Dinosaur Jr.
3. Broken Social Scene
4. R. Kelley
5. The Chappelle Show

Bottom 5
1. Rain
2. Hangover
3. Eating too many crisps
4. The smell of the main room Sunday night
5. The disappointing Shins.

26th May 2006 - 1 comments - Add Comment - Tweet

Radiohead

Hammersmith Apollo, London

OK, what you are about to read is a totally 100% biased, one-sided opinion masquerading as fact but I don't care. This was a perfect gig. All morning I have tried my hardest to pick holes in it and find some kind of fault but I'm afraid I concede, simply perfect. Whenever people ask me what was the best gig you have ever been to I get nervous because I feel my answer should be some seminal moment in music history, like "Sex Pistols at St. Martins" or the "Stone Roses at Spike Island", when all that really ever came to mind was "MC Hammer, Wembley Arena supported by the mighty Snap". But now I have an answer to be proud of.

I suppose the only slightly less-than-perfect point was that they opened with a new song Videotape that Thom Yorke plays on the piano so no one can actually see him until the second song. But that was National Anthem and the show was under way. This was followed by 2+2=5 which is when the crowd really found their legs or lost them depending on where you were standing. I had heard that this tour was going to be an opportunity for the band to air some new songs and some of the lesser played ones. This was true but they still managed to treat us to such classics as Karma Police. This is what I would refer to as 'A Platoon Moment' where I assume a Willam Defoe, hands-in-the-air-euphoric stance only this time not being gunned down by the Viet Cong. This pose was invented for this band and for this moment. It was nothing less than spectacular.

Three of the most impressive moments were the opening tracks to 3 of their best albums. Everything In It's Right Place, Airbag and best of all Planet Telex. Here the band arranged a supped up version of such magnitude that it was almost unrecognisable and sounded like something off Kid A or Amnesiac. The set list didn't seem to be set in stone either and after repeated crowd requests for OK Computer's epic Let Down they finally obliged. Maybe it isn't a song that is often played as half way through the second verse Thom seemed to forget the words and backed away from the mic looking confused. The crowd soon came to his aid and rose with a crescendo of straining voices bringing a grateful smile to the front man. What was also very evident is that we are in for a treat judging by some of the new stuff that was played. Arpeggi being a particular highlight, a slow building number that evolves into a power house finale making full use of Ed O'Brien's impressive backing vocals which are fast becoming Radiohead's secret weapon.

So two encores later and a string of classics having delighted and exhausted the worshipping crowd we are eased down from the clouds gently with Everything In It's Right Place, which saw Yorke come to the front of the crowd and dance along with us with a big smile on his face. I will end this review by apologising again for my rather over emotional sentiments but I am not of sound mind. If you want an over technical and slightly cynical opinion go read Pitchfork but as for me, if I was Sam Becket from Quantum Leap, I could definitely 'leap' now.

19th May 2006 - 6 comments - Add Comment - Tweet

Morrissey

London Palladium

Due in part to my near death experience during the last Morrissey gig at Alexandra Palace two weeks ago I felt a bit cheated and wanted to see him properly in a smaller, more intimate and civilised environment. The Palladium fits this description perfectly and was a specific request by the man himself as a venue to perform the last 3 shows of his tour.

It all started off so well. Our seats were in the Royal Circle and we had a perfect view. As is customary on this tour a version of You'll Never Walk Alone is played at top volume to signal the imminent start to the proceedings. Hands were already in the air and I could barely contain my excitement. As expected, the reception was rapturous and the show kicked off in style. A few songs later came the riff heavy How Soon Is Now, which was greeted with utter delight and simply rocked. Morrissey seemed to be really enjoying himself - indulging in plenty of banter about how Radio 1 refuse to play his single and that The Palladium felt like home to him as he played here 20 years ago. However, it soon became evident that he was experiencing some difficulty with his earpiece and started to not finish songs, saying how terrible the sound was - despite us telling him it sounded fine. At one point he even asked the crowd "please someone, say something encouraging." The sound problems really seemed to be rocking his confidence and it soon appeared like he was just going through the motions and wanted to get off the stage as soon as possible. As a result he decided not to come back on for the encore and the disgruntled crowd booed as they left the venue.

Despite the great start and an excitement that is rarely found at live performances I left with a deep feeling of disappointment. The sound problems were clearly not his fault and were a cause of some distress to him but I would have thought a performer of his magnitude and experience could overcome this and not give the audience the impression that he was bored and we weren't doing enough to entertain him. After what I thought was a fantastic version of Life Is A Pigsty he asked us why we were clapping. I thought the sound was fine. Vocals are often an element that can get lost at rock gigs but his voice is always so clear and this was no exception. The crowd's excitement was killed by the obvious look of frustration and anguish coming from the man we had paid a lot of money to see. I guess he can just chalk it up as a bad day at work, but for the two fans I spoke to in the pub afterwards who had paid £190 per ticket it was a disaster. I haven't given it a rock bottom rating as the first 45 minutes were awesome and the venue was fantastic. I also have a new favourite track; Ganglord. This B-side to the new single is a classic in waiting.

15th May 2006 - Add Comment - Tweet

Morrissey

Alexandra Palace, London

I think I could see Morrissey live every time he is in town, it is such an experience. Musically it is impeccable, but half the enjoyment comes from watching the type of fans he attracts and the effect he has on them. His music has the ability to reduce hardened middle-aged men to the mushy, teary-eyed romantics and it is fascinating to watch. Queuing up outside Alexandra Palace last night you’d be hard pushed to guess the band we were all waiting to see. It was a veritable melting pot of misfits, mods, Goths, England fans, dweebs, dickheads and righteous dudes. Beer guts were proudly displayed and back pockets adorned with wilting daffodils (Gladiola’s obviously not in season just yet), a sight to behold indeed.

After waiting at the front of the massing crowd through two support acts (one being Domino’s Sons And Daughters which were very good), the time had arrived and the lights dimmed. Amid deafening “Morrissey!” chants that would put the crowd at Stamford Bridge to shame the excitement was awesome. On walks the man himself and with the words “For what you are about to receive I am truly sorry.” The band explode with The First Of The Gang To Die. This was particularly ironic as my girlfriend very nearly was. The crowd erupted and surged back and forward with such pressure from the back and sides we struggled to keep our feet. So after waiting at the front for 3 hours it took less than 1 song for us to be at the back of the hall.

But without fearing for your life you are able to appreciate the show a bit more. And what a show it was. The man is notoriously private and sedate for the press, so it really feels like a privilege and an honour to see him so animated and vocal when in front of his fans. As usual the set list was mainly comprised of his new material but he did treat us to Girlfriend In A Coma and the show highlight How Soon Is Now? The super-extended rendition of this Smiths classic was greeted with absolute euphoria and a sea of worshipping hands in the air, stuff to make your spine tingle. The other highlight was Life Is A Pigsty which, in my opinion, is the best track off the new album. It was also interesting to notice how the songs off 2004’s You Are The Quarry, especially the encore of Irish Blood English Heart, are treated by the fans as classic Morrissey now.

The combination of such a legendary personality and a truly fantastic backing band (who strangely resembled Jonathan Ross’ ‘Four Poofs And A Piano’) made this performance truly live up to one of Morrissey’s opening statements “Welcome to the lost art of live music.” I can’t give it a perfect score because my girlfriend nearly died.

2nd May 2006 - 1 comments - Add Comment - Tweet

Pearl Jam

London Astoria

As one of the last gigs on my list of all-time favourite bands, having not seen these guys had always nagged at me. I had been too poor as a student, out of the country for one tour and then after the death of some fans at the Roskilde festival in 2000, Europe had been off rotation for the last couple of Pearl Jam world tours. I was resigned to eventually seeing the band at the enormo-arena-dome some time past their peak - and convincing myself that I wasn't disappointed.

Recently, things started to look up. A well invested fan club membership led to a great 7 inch single, but the golden ticket was a heads-up on this one-off warm up show at London's Astoria. Chimp Jnr managed to snag the tickets, which sold out in 1 minute and ended up going for £450 on eBay. It crossed our minds to cash them in and fly out to Seattle, but even there a 20,000 seat Arena could not offer the same opportunity as a 1600 seat venue on home turf.

The gig had a quick turnaround and before we knew it we were queuing down the side of the Astoria, round Soho Square and back onto Oxford Street. Some of the eBay tickets had apparently been confiscated, so some persistent fans did get a chance to get last minute surprise re-sale tickets on the door. The touts dropped their tickets to £250, while security guards checked the ticket numbers as some fakes had been circulated.

The atmosphere in the queue and inside the venue was electric. It obviously wasn't just us that had been holding out to see them, and when the band came out the place went crazy. A quick acknowledgment that it had been a long time set the scene, and then we're off with new single World Wide Suicide. As noted, this is a bad title, but as a song it was a great start - thundering, off new album Pearl Jam, but still one that the fans could get into. That was followed by Life Wasted and Severed Hand from the new album, which subdued the crowd slightly as they are still relatively unknown.... Two more new songs followed, but these were current b-side Unemployable and Christmas b-side Gone, which is already one of my current favourites. So things were picking up, and then they really took off with Even Flow.

From then on things only got better and better. The band pulled highlights and rarities from their 15 year back catalogue, such as Sad, I Am Mine, Leavin' Here and Given To Fly mixed in with a couple of the new tracks. There was a healthy dose of revived songs from black-sheep album Ten (which out sold Nevermind for you haters out there) including an awesome ramped up version of Why Go? The Indie Goth Revival is over, long live Grunge.

The highlight had to be an impromptu sing along to Betterman, where Eddie Vedder literally hardly sang a word. The entire crowd took over in a spine tingling moment, reminiscent of Black on the Benaroya Hall album. Visibly moved by the crowd response, the band came back for two encores until finally the end had come, as Mike McCready plucked the opening notes of traditional set-closer Yellow Ledbetter. Everyone sang along and the band even dropped in a few notes of Nobody's Fault But Mine as a nod to Robert Plant, who was in the crowd with his son. After a bow the band started to leave the stage, before the overwhelming reaction from the audience genuinely changed their minds. Eddie Vedder called them back for one more... a storming rendition of Alive. As one of their only UK hits, this is often how they are perceived by those who know little of their later work. It was an unashamedly 90's moment, and I realised that after 15 years of progressing onwards they are now looking as much like the grunger's of the early 90's as ever.... and I love it.

All in all it couldn't have been a much more satisfactory conclusion to my quest.... although thanks to a man on the inside we are off to see them taping Later with Jools Holland tonight.

25th Apr 2006 - Add Comment - Tweet

Shakti

Colston Hall - Bristol

It's not every day that a band containing Miles Davis' former guitarist treats you to the first ever public performance of a piece that was written that very afternoon. But this is exactly what happened at the stunning Shakti concert in Bristol's Colston Hall on Saturday night. The first half of the show consisted of several old favourites, all executed with the usual baffling precision and togetherness, but we got the new song shortly after the interval. (I like concerts with intervals. Why can't all acts do this?) While John McLaughlin smiled on in his usual benign way, Zakir Hussain - surely the world's greatest percussionist - introduced the piece, which he called something like 'John_@uk.com'. (For all their endless brilliance, Shakti have never been too good at coming up with titles. Still, it's a bit snappier than the old classic 'What Need Have I for This, What Need Have I For That, I Am Dancing at the Feet of my Lord, All is Bliss, All is Bliss) The band then launched into an incredibly (and typically) intricate piece ... but they played it perfectly. I'm still at a loss to describe how well these people improvise together. The band, whether in its four- or five-piece incarnation, really is like an organic creature that instinctively knows what each part of its body is about to do. The improvised four-way call-and-response section of one of the pieces in the second half was simply beyond comprehension. The only truly depressing thing about seeing John McLaughlin play live, though, is realizing just how inadequate your own guitar skills are.

3rd Apr 2006 - Add Comment - Tweet

Clap Your Hands Say Yeah

Sala Heineken - Madrid

Halfway through their set, support band Dr. Dog announce that this is the last date of their European tour with Clap Your Hands Say Yeah and give thanks for the opportunity of getting overseas and on the road with the lengthily titled headliners. And then it makes sense. They must be knackered. Having been pretty much blown away the last time I saw Dr. Dog, I couldn’t figure out why this show seemed so flat. The audience were smiling along, clearly amused by the idiot antics of the goofy frontmen kitted out in shades and woolly hats. But there was something missing, this was a performance that suggested ‘Just one more, then we’re out of here’.

The same could apply to the hugely anticipated CYHSY. Desperate punters, begging for tickets outside in the rain, hinted that the levels of hype already witnessed in their native New York and more recently London had spread to Spain. Opening with the first ’song’ on the album (not the eponymous vaudevillian number) and finishing with its closer and highlight Upon This Tidal Wave of Young Blood, with a few new tracks in between, they put on a solid show. But that was it: solid. A large part of the album’s appeal is the sense of character and fun running through it and I imagined the live show would capture this. But a largely static backing band flanked tired/shy singer Alec Ounsworth, as they worked through the numbers. This is not to say it was disappointing; the songs themselves are strong enough to grab and hold the attention, his unique vocals certainly captivate and being joined onstage by Dr. Dog and friends for the encore was definately a high point (quite literally as a Dog guitarist performed an exemplary solo from the shoulders of a burly roadie). Overall, would be worth checking out again - just to see how they operate with a full tank of gas.

28th Feb 2006 - Add Comment - Tweet

The Black Crowes

Madison Square Garden, NYC

Despite the deeply traumatic MMJ no show, we decided to be brave and give it a go. Within about ten minutes we were questioning the wisdom of this decision. Walking in half way through the support act; someone callling himself Trey Anastasio. JESUS CHRIST. Freeform Fratboy jazz rock fusion at its finest. Ahem. Somehow we actually survived this to actually see The Black Crowes.

My expectations were moderate but I was actually taken with them. Sure they feel like they are doing a Faces / Stones impression, but it is a pretty good one all the same. They have good-ish tunes and front man Chris Robinson has genuinie charisma and a fine Jagger-esque shuffle.

Oh, And we got to see Kate Hudson. Grrrrrrrrr.

trey anastasio
the black crowes ***
kate hudson *****
the occasion ****

9th Jan 2006 - Add Comment - Tweet

CocoRosie

Scala, London

After the tragic let down (and probably the best sleep I’ve had in a long time) of the recent Bob Dylan concert I really needed Coco Rosie to restore my faith in live music. I was not disappointed. This was one of the most creative live performances I have ever seen. Sneaking on quietly amid a barrage of French rappers in tutu’s, the sisters captivated the audience from the first note. The music was totally live with classical piano and harp accompanying human beatbox, animal noises, delicate acoustic guitar and strange childlike vocals that sounded like a cross between Billie Holliday, Bjork and that freaky exorcist in Poltergeist. One of the sisters (Sierra) is a trained opera singer and it sure made for a refreshing contrast to hear such an enchantingly powerful voice booming out of a girl dressed in baseball cap and general hip hop gear, while her sister looked like she had just got out of bed and threw on her boyfriends oversized Tupac t-shirt. The stage seemed packed with lots of strangely dressed people doing their own thing around these utterly engaging sisters while a huge back projection played lo-fi images of Care Bears, Unicorns, Rainbows and all the other regulars from your average dream/nightmare scenario.

Their energy was electrifying. You really felt like you were witnessing something totally live and that anything could happen. When someone called out a request from the crowd they just said ‘OK’ and played it. During the encore people were pulled up on stage from the crowd and encouraged to join the free-for-all-sing-along finale that never seemed to end.

Despite the opinion of one guy in the crowd who shouted out ‘you’re a fucking sham’ this was a refreshing, unpretentious and totally unique display of creativity that respectfully nodded to it’s various influences but took the music and performance to places I have never seen before.

The following review of the new album Noah’s Ark on Spin.com just about sums it up: “Sierra and Bianca sound like humping unicorns spewing rainbows in a muddled watercolor field: fantastical and childlike and strangely pretty all at once.”

2nd Dec 2005 - Add Comment - Tweet

The Wedding Present

Shepherd's Bush Empire, London

The Wedding Present's Take Fountain is another chimp album of the year for me, and certainly best "comeback album that is mind numbingly good, as opposed to predictably disappointing" in a long time.

As the lights went down and the spooky atmos track of Interstate 5 drifted over the PA, I thought we were heading straight into a thundering live rendition of my Collateral-esque widescreen track of the year. Instead, that faded away and we just had a thundering run through of classic Wedding Present and Cinerama tracks, with only two off Take Fountain - Always The Quiet One (awesome and fast) and Ringway to Seatac (awesomer and faster).

Suck, Dare, Kennedy, Heather, Corduroy, Apres Ski and a cover of Falling from Twin Peaks stood out - but then I only have six albums and only recognized about half the songs. The most under revised I have felt in a long time.

David Gedge was not quite what I was expecting (it is 15 years later), but was not disappointing. A totally engaging character, he acted and gestured his way through every song, without the pretensions of someone like Jarvis Cocker. "This song's about sex, or maybe love. Don't ask me, I'm just a conduit." Continued requests persisted from the crowd, and were met with the response "In 20 years have you ever known us to do requests?"... until someone shouted "Brassneck" at just the right time on the set list for the very tight band to launch straight into a ferocious version of possibly their most famous tune. The generally well behaved mosh pit (most fans were 30-40 and probably teachers) went crazy.

No Take Me! either, but I got what I was looking for with the speaker facing, top speed, double guitars, extended high note strumming on about half a dozen other tracks. The only thing that could have made this gig any better would have been for it to be a warm up show at the Amersham Arms.

23rd Nov 2005 - Add Comment - Tweet

The National

ULU, London

The National have been making quick progress up my album of the year chart, so this was a good chance to put these pups under the microscope (even though they are only a mere 3 albums in).

Support act Film School kicked things off, and I spent quite a while deciding whether their Cure stylings and sound were contrived or genuine... but being American ponces (as opposed to British ones) did them some favours and they may be worth watching out for. When The National took to the stage however there was no doubt that they were a cut above. They kicked straight into the new classic Secret Meeting with such power and gusto that the audience was instantly gripped. I was surprised that singer Matt Berninger wasn't the dude on the cover of the debut album... but if Britt Daniel from Spoon is Richie Cunniingham, then this guy is a cross between Crispin Glover and Sam Shepard. Alternately smoking and moodily skulking around the stage... which all made me realise how many bands don't have an instrumentless singer at the moment. This created a real focus for the six piece band, who did seem a lot more of a band (rather than a single vision of a single person) than I had imagined.

There was a bit too much swapping around between the bass and guitar guys (chimp concert rule number 3, stick to one instrument), but the set motored along without much interruption, consisting of a lot of tracks from the current album Alligator, with a few other numbers from Sad Songs For Dirty Lovers and the Cheery Tree EP, all amped up a notch from the studio versions, with a fair bit of screaming.

If you don't have Alligator yet, get onto it. And keep a eye out for these guys in the future. Ossum.

23rd Nov 2005 - Add Comment - Tweet

Bob Dylan

Brixton Academy, London

It was a tough call seeing this or Jeff Tweedy tonight. One, a bonifide legend who might not be back, the other a mini-legend, who will almost certainly be back - with and without Wilco. That made the decision easier, and the huge queue snaking all the way round the Brixton Academy at 7.30 certainly added to the excitement.

Everyone got in pretty quickly, and at about 7.40 the lights went down for an ice hockey style introduction for the "legend of the 60's counter culture, duke of spook... etc". The crowd went crazy when Dylan shuffled on, and kicked things off with Maggie's Farm. We also got Positively 4th Street, Most Likely You Go Your Way (And I'll Go Mine), Girl Of The North Country and Highway 61 Revisited. The Band (I wish) were certainly good, but no one really moved off piste without a nod from the commandant, and certainly no one broke into a sweat. Dylan himself was captivating to watch, but mainly due to the fact that you were in the presence of a living legend... rather than what he was doing (not playing the guitar, occasionally playing the harmonica. The older geeks in the crowd (some with binoculars, many taking notes) seemed determined to like every single move or shuffle, and every song started with a race to be the first to recognize it.

The band shuffled off after a brief bow, but nothing was said to the crowd. They predictably shuffled back on for an encore with Like A Rolling Stone, which was the first time the crowd actually had a chance to sing along. As the chorus came up the crowd swelled up - but then after one line, Dylan's different delivery (Like a ROLL-ing stONE!) just caught everyone off guard and put an end to it.

All Along The Watchtower wasn't bad, but all in all it was a bit like seeing a really good jazz band (or even Steely Dan) on a Cross Channel Ferry doing Dylan covers. In the club style.

Should have seen Tweedy.

23rd Nov 2005 - Add Comment - Tweet

The White Stripes

Alexandra Palace, London

People have been banging on about the White Stripes since way back when The Strokes were just a glint in Albert Hammond Snr's eye. It was only recently that I fully clicked with them being any good - with the song As Ugly As I Seem. Sure, Seven Nation Army is great, but the whole it's-recorded-on-genuine-analogue-equipement-that's-why-it-sounds-badly-produced vibe never did it for me. Pet Sounds, or Houses Of The Holy managed to get their levels right.

Anyway, suffice to say that when they are playing live, the whole recording/production thing becomes old news - as it's all the same volume, right in front of you. And it's LOUD. Who would have though that a guitar and drums could make such a thundering racket. 'Especially with (ahem) a girl hitting the skins'.

Jack White is a genuine band leader with a huge stage presence, and while he stomps around bossing Meg about, you do get the feeling it's just for show and the band really is equally indebted to both him and Meg. Her relentless, basic, pounding drumming really creates an atmosphere while he swaps guitars, tinkles on the piano or organ, and plays the Xylophone.

Yes, Blue Orchid and Seven Nation Army were stomping highlights, but tough versions of the Hardest Button To Button and Fell In love With A Girl also stood out, plus Meg singing on Passive Manipulation, the infectious simplicity of My Doorbell, or the superb Xylophone tune The Nurse and the sing-along (chorus only, see below) I Just Don't Know What To Do With Myself.

Only downside was way too many people (8000+?), and a slight sense that the band had got too big too quick. While everyone new the tunes when Jack held up the mike for a sing-a-long, no one actually new the words...

CORRECTION: Jack White plays a marimba not a xylophone. They are similar, but the xylophone has a more harsh sound and doesn't have resonators. It's absolutely a marimba on the album. - CN

15th Nov 2005 - Add Comment - Tweet

Sufjan Stevens

King's College, London

First trip to King's College Student Union tonight, and up to the 4th floor (Tokyo style!) for Tutu's bar. Classical music set the scene for tonight's 'Acoustic Evening With Sufjan Stevens', and beer was at student prices. No jelly vodka shots though.

Scottish opening act My Latest Novel start things off, and were sounding good but were unfortunately another case of 'listen but don't look'. A lack of experience and stage presence, mixed with a constant swapping around of who's playing what, plus one too many toy instruments failed to keep this chimp focused. They did sound OK though, and they almost certainly must know those Fence guys.

Sufjan Stevens and his gang took to the stage in semi-freaky Halloween masks, but the itchy feathers soon put an end to that. One album into his quest to record an album for every state, Sufjan Stevens was already distracted with the non-US State based Seven Swans, so it was good to see him sticking to his plan with the release of this year's Come On, Feel The Illinoise!. That album in particular has a tendency to use repeated compositions and melodies, meaning it can sometimes start to sound more like a movie soundtrack than an album proper... and that was reflected in the live show. Serial Killer classic John Wayne Gacy Jr. was a stand out for me and the show in general sounded great (just like the record!), but the lack of energy and too many songs with 80% of the band just standing still were a bit of a mood killer. Give me a shuffling, high kicking Bob Pollard any day.

For once it was a case of 'less cowbell', and 'more guitar, bass, drums and attitude'. Please.

1st Nov 2005 - Add Comment - Tweet

Spoon

Koko, Camden

Spoon are one of those bands who seem to have surfaced recently... but a bit of detective work reveals they've been around for years and years, quietly plugging away, doing their own thing.

After the utterly useless support band "Amusement Parks on Fire" shuffle their tedious, angst ridden, Kurt Cobain cardigan-wearing, trauma-feedback nonsense into the wings, Spoon hit the stage and straight away it's clear that they're a band with a lot of live experience. They're super tight and work the crowd well, with Richie Cunningham/Gary Busey (c. Big Wednesday) lookalike singer Britt Daniel exuding personality with his chat and semi-moonwalking sliding dances. They march through a lot of their latest album Gimme Fiction, with great drumming and Ice Hockey style keyboards (from a Vincent Gallo lookalike)... sounding a lot like an American 1960's band in the style of a British Invasion rock. Right at home on Nuggets in fact.

It's all over too fast, with a rousing encore finale of Ice Hockey Rock (TM) classic Small Stakes. Check the surveillance section for a clip.

13th Oct 2005 - Add Comment - Tweet

Jim James Solo Acoustic

The Enterprise, Camden

After September's DJ/My Morning Jacket/Jim James triple cancellation it was a pleasant surprise to see this re-scheduled solo gig pop up on the MMJ website, particularly as they were about to start a big US tour. Things only got weirder when the chimp contingent got to the venue - above The Enterprise pub in Camden. The room was tiny (around 100-150 max) and totally empty. Doors opened at 7 and we got seats at a Goodfellas-style table, literally right in front of the six inch high stage. The venue was totally empty for ages, and the rumour was that the record label had block booked most of the tickets - presumably for press purposes. That kind of sucked for all the people who kept coming up looking for tickets, but to be fair it did fill right up at nine on the dot, and a couple of desperate fans were invited in for free...

Jim James shuffled on with a keyboard/sample/drum machine type thing (apparantly called an Omnichord), and took off one shoe (making fists with his toes after a long haul flight?). The crowd was hushed instantly as he started off playing only the omnichord, building it up into a layered rhythm before unleashing his amazing voice. The small size of the room and the closeness of the stage meant that half the time he could be heard louder off the mic as he soared and reached all the high notes... always sounding like he should crack, but never even coming close. While the 90-odd minute set was made up of both old classics and a lot of songs from the forthcoming My Morning Jacket album Z there was never a moment when the crowd was less than mesmerised. Seeing one person create such a delicate sound, but still whip up a storming finale for tracks like The Bear, was unforgetable and the sound is still ringing through my mind several days later.

New track Dondante was a particular highlight, given extra poignancy by Jim's introductary explanation of waking from a dream with this song for a dead friend in his mind. The Bear and Bermuda Highway were awesome, as well as newer tracks like Anytime and Off The Record. Covers of Eels' 3 Speed, All The Best by John Prine and Dylan's You're A Big Girl Now finished things off.

After seeing a lot of gigs recently, this was far and a way one of the best. If you don't own any MMJ, please get some. If you do, keep an eye out for this gig as there were rumours of it being taped....

2nd Oct 2005 - 2 comments - Add Comment - Tweet

Stephen Malkmus

Koko, Camden

I made a few Pavement related errors as a younger music fan - most notably missing out on seeing them support Sonic Youth, due to a lack of train fare money. I've been totally loving Stephen Malkmus' solo albums, so I wasn't about to drop the ball and miss this show.

Support came from Clor, who've been causing a 'buzz' on the Chimp Towers 'should-get-round-to-checking them-out' list, and they were great. Malkmus and the Jicks then kicked off, unfortunately disproving the myth that support bands are deliberately mixed badly to make the headliners sound great. The kidney wobbling bass that was working well with Clor's disco groove just drowned out the witty lyrics etc that make Malkmus' songs tick. Dodgy cabling led to a few more sound problems, and while the band were pro enough to ride it out you did get the feeling that it was holding them back.... as they started to run out of banter and never really got on a roll. Moaning aside though, they did kick out some great tracks... notably long form chimp favourite No More Shoes.

3 stars and no grudges.

26th Sep 2005 - Add Comment - Tweet

Matthew Herbert: Plat Du Jour

Victoria Rooms, Bristol

Dr and Mrs Chimp were served a feast of tasty treats at the Matthew Herbert Plat du Jour gig in Bristol's Victoria Rooms last night. Loud and manic sounds, great visuals, intriguing smells, white wellies, fishy balloons, and crunchy Worcester apples were all cooked up into a real assault on the senses. Serving suggestions will never quite be the same again. Make reservations for next month's Barbican gig now. And as for Dani's constume: 'We're lovin' it'.

5th Sep 2005 - Add Comment - Tweet

Queens Of The Stone Age

Brixton Academy

after al qaida stopped the rock earlier this summer (and another time before that when they cancelled for health reasons), it was good to finally catch josh homme's latest version of q.o.t.s.a. at the brixton academy: still kicking it out even without a large bald dude on bass. lots of ten minute jams, super heavy drums and real charisma from l'homme, plus a cool set that had room for all the hits, as well as things like that pj harvey desert sessions song i wanna make it with you, and lots more (early?) stuff i hadn't heard before. rocket chimp felt they could have done with slowing down on things like no-one knows, which is a fair point. but as a carnivore of rock, this chimp thought it was pretty beefy all round. recommended, would see them again.

23rd Aug 2005 - Add Comment - Tweet

Patti Smith's Meltdown: Songs of Experience

Royal Festival Hall, London

From the announcement of Patti Smith’s meltdown line-up this always seemed like one of the clear highlights. Jeff Beck, Flea, Tom Verlaine, John Frusciante and others joining Patti Smith for an evening of music celebrating Jimi Hendrix. John Frusciante does Hendrix? That sounds awesome, dude! Things started to go wrong shortly after that when Frusciante announced that he was not going to be able to make it, due to recording work on the new RHCP album.

The gig kicked off with Patti Smith and her band doing Are You Experienced? A pretty good start, but surely it would get better as more stars came on stage…. but then Patti Smith left the stage and the next act came on. Surely the logical format for an evening like this was Patti Singing with an ever changing line up of superstar backing band?!… but no, each act came on, did one or two songs and then left. There were some collaborations, like Robyn Hitchcock and Johnny Marr doing May This Be Love, but generally it was a stilted, atmosphere-free evening while people trudged on and off stage and roadies wired up new equipment.

No one really came close to hitting the high expectations: Squarepusher started OK, before twiddling and feedbacking his way into his usual freak-out-jazz-solo. Flea was a highpoint, with looping pedals repeating his parts while he built up to a trumpet final, and Jeff Beck was pretty good at matching Hendrix’s skill…. but essentially it was all a bit like watching a busker do a cover of Purple Haze by playing it on a washboard. The closest to getting the freak-out vibe of Hendrix’s playing were Finnish duo Kimmo Pohjonen and drummer Sami Kuoppamaki, who rocked out their accordian/drumkit tracks in true freak out style.

Things did end up in a kind-of jam finale, with Patti Smith back on stage, with Jeff Beck, Flea and Tom Verlaine… but Patti’s emotional recital was undermined by the fact she was reading the lyrics, and guitar-doofus Verlaine was busy tuning up as usual.

5th Jul 2005 - Add Comment - Tweet

U2

Cardiff Millennium Stadium

Dr Chimp's ears are still ringing after the U2 rockfest at Cardiff's Millennium Stadium last night. Very odd to be in a space that big, but with a roof overhead - a bit like being indoors and outdoors at the same time. U2 gave us two very loud hours of their greatest hits, plus about three-quarters of the latest album. Oddly, the songs from their very first album were played with far more energy than the newer material (apart from Vertigo, which we got twice). One guy standing near us seemed to have a 48-piece imaginary drum kit, which he gave a good thumping during Sunday, Bloody Sunday. And two other swaying dudes air-guitared themselves into a total frenzy during Bullet the Blue Sky. All in all, infinitely better than the limp Zooropa show that Dr Chimp and Chimp71 saw in Cardiff in 1993, but nowhere near the heights of the San Francisco ZooTV madness of '92. Very excited to see the convoy of U2 people carriers, under heavy police escort, racing past the grassy knoll by the castle on our way back to the car. But why does this feel like a farewell tour?

Dr Chimp

set list:
Vertigo
I Will Follow
Electric Co.
Elevation
New Year’s Day
Beautiful Day
I Still Haven’t Found
All I Want is You
City of Blinding Lights
Miracle Drug
Sometimes You Can’t Make It On Your Own
Love and Peace
Sunday Bloody Sunday
Bullet The Blue Sky
Running to Standstill
Pride (in the name of love)
Where the Streets have no name
One

Zoo Station
The Fly
With or Without You

All Because of You
Yahweh
Vertigo

30th Jun 2005 - Add Comment - Tweet

Patti Smith @ Meltdown 2005

Royal Festival Hall

patti smith totally rocked during her track-by-track 30th anniversary performance of Horses, from the stunning opening line "jesus died for somebody's sins, but not mine…" to the blow-out ending. flea on bass and trumpet for some of the songs, tom verlaine sitting on an amp at the side (possibly making up for the shoddy television performance on monday), and lenny kaye showing how it's really done. she was totally commanding, had real presence, dealt with all the hecklers "whatever you say, you're not going to impress me…" and proved that she's really the iconic figure you always read she is.

and it's the first time i've ever seen a standing ovation from the first song onwards… not surprising when it's her stunning version of gloria (wonder what van thinks?), but still pretty impressive.

oh and she had 2 pieces of advice: look after your teeth, and never wear new shoes to an important job. so she ended up dancing barefoot…

john cale's opening set, also w flea on bass, was pretty good too, even if neither dr chimp or i recognised any of the songs (ie no velvets nostalgia this time)

26th Jun 2005 - Add Comment - Tweet

Television

Queen Elizabeth Hall, London

I got into Television through the copious "thanks" notes in the Minutemen's Ballot Result album, along with Creedence, Wire, X, Richard Hell and more. The chances of ever seeing them live were always pretty slim, so this gig at the Patti Smith curated Meltdown festival was a high priority. Richard Hell was also in the festival and for a brief moment I even thought he might be rejoining Television for the night. As it turns out he was wise to get out when he did, as this was one of the most dissapointing gigs I've ever been to.

Shows kick of pretty punctually at the QEH, and it's all seating - which never helps with the atmosphere of a rock concert. Television came on with no support, but to much adulation from the crowd. They then played for about 90 minutes, mainly focusing on their much lesser know 90's songs from the album Television, plus a few of the best tracks on Marquee Moon. They seemed very unrehearsed and totally at odds with each other on stage. Tom Verlaine's authority as band leader was sadly lacking... plus he couldn't get his guitar tuned properly (a chimp75 pet gripe), trying between almost every song. Guitarist Richard Lloyd held things together for a while with some guitar hero solos, before he also fell to tuning issues and started blowing a few clams. Most songs wandered of in 'interesting' directions before generally grinding to an abrupt halt. Even Marquee Moon itself was pretty lacklustre, and while the crowd were urging the gig to be great it just never took off.

The band cut off stage pretty abruptly, before returning for an encore with Patti Smith - which focused things a bit, with a version of You I Rate. That was followed by a rockin intro to a cover of the Count Five's Psychotic Reaction, before Verlaine seemed to realise he didn't know the rest of the lyrics. That final song just melted away... and it was over.

25th Jun 2005 - Add Comment - Tweet

Weezer

Brixton Academy

I’ve been a big Weezer fan since they started, and I’ve waited a long time to see them, so right off the bat you know they’re getting a good rating. Prejudices aside however, it was great to be seeing an actual functioning band five albums down the line – rather than these one-record upstarts (Ambulance), or reunion monsters (Pixies). Rivers Cuomo is truly the Woody Allen of rock – a few shakey moments here and there in the past, but live it’s all highlights.

Tired of Sex is a great opener on the Pinkerton album, and it made a great opener here. A quiet start, revving up to a rocking finale – with sound in Brixton sounding way better than usual.

After that it was crowd surfing and singalongs all the way. Undone and Say it Ain’t So sounding awesome, Buddy Holly kicking in after a disguised intro, Beverly Hills and We Are All On Drugs sounding great of the new album and then all the way through to a feedback finale with Hash Pipe for a as a second encore.

20th Jun 2005 - Add Comment - Tweet

Ambulance Ltd.

The ICA, London

June 13th 2005

Possibly the first hot shit band I've actually seen ahead, or maybe on, the curve. These guys kicked off their set with instrumental chimp favourite "Yoga Means Union" building up to a powerful rockathon. 'Tight' is the adjective of the moment.

After that things moved along with a remarkably sequential set of the first 4 or 5 tracks off their album. Then a few new songs, which were more like the non-favourite tracks off the current album, but these new ones were good - so some re-appraisal is due. Straight A's and a few more to finish, then the fastest encore of all time - finishing with a homage to some Westcoast roots with a cover of Everybody Knows This Is Nowhere.

14th Jun 2005 - Add Comment - Tweet

Dinosaur Jr.

The Forum, Kentish Town, London

June 8th 2005

There’s been a lot of reunion style gigs recently… mostly with pre-Nirvana bands getting some praise that they maybe missed out on first time round. The original 3 Dinosaur Jr. albums have recently been given the full re-release-with-bonus-tracks treatment, and this mini tour is a kind of support for that. Lou Barlow and J Mascis fell out shortly after Bug, and it wasn’t until Lou climbed on stage for guest vocals at an Asheton+ Asheton+ Mascis+ Watt Stooges gig that they even really talked, so things have obviously gone far enough that they’re playing together... but not far enough that they’re actually communicating. Not that anyone could hear anything over their legenary thundering volume.

The set was an onslaught of very loud, very heavy, very fast classic Dinosaur tracks, pulled from a democratic balance of early favourites - with the post-Sebadoh Lou getting a few more vocals slots than he maybe would have first time round. He even commented that he hadn’t ever sung a couple of the tracks live, but that didn’t cause any problems. It’s kind of nostalgic for us and them really, knocking out the now-classic album tracks like The Lung, Freak Scene, Just Like Heaven, In A Jar, and getting the huge support that they always deserved.

Extra half star for old times sake.

14th Jun 2005 - 1 comments - Add Comment - Tweet