Live Review: James Blake @ the Manchester Gorilla

Pic: Maanik Chadda, James Blake

Manchester Gorilla, UK - 06/12/12

James Blake treated an intimate Manchester crowd to intriguing new material and highlights from his self-titled debut album.

The sell-out crowd saw a steady, balanced set with moments of sadness and joy through Blake's spine-tingling falsetto voice and majestic use of his synths and keys.

He opened with dubstep bass-heavy track Air And Lack Thereof with a slick, addictive snare drum beat.

The haunting repeated lyrics in I Never Learnt To Share work with the extremely distorted synths to combust in a mind-blowing explosion of musical ecstasy.

Popular Feist cover, Limit To Your Love, soon follows to put the audience in a head-nodding state of contentment.

The beautiful Lindisfarne duo gelled elegantly along with Blake's effortless vocals, repeated drum beat and distorted guitar riff.

All senses are go when a James Blake fan hears the opening notes to CMYK. The R&B dance favourite samples the simple lyrics 'look I found her red coat' to lift the crowd into a gentle dubstep sway.

Engaging new songs were well received but they failed to challenge his past masterpieces.

The encore began with a build up to a perfectly sustained garage-influenced dubstep mix.

The Londoner ended confidently with strongest album track The Wilhelm Scream to provide the ideal climax to a blissful evening.

Blake's warm-up act, Lone, was pleasant, relaxing and distinctly average throughout. Uplifting at times, Matt Cutler's repetitive blend of drum and bass, 90s new rave and 80s synths was suitable background music to prepare for the real thing.

Although Blake may not have met the incredibly high standards of his studio recordings live, he has still proved that he can captivate an enchanted crowd on a cold December night.

The set list is below:

Air And Lack Thereof
I Never Learnt To Share
Our Dog Comes Back
Limit To Your Love
Lindisfarne
Over-Come
CMYK
Everyday I Ran Around The Park
(We're Going) To The Pub
Klavierwerke
Retro Clothes Shop
The Wilhelm Scream

Bon Iver touch the soft spot at Wembley

Bon Iver. Pic: rockzoom_de

Bon Iver @ Wembley Arena, London, UK - 08/11/12

There's only one Justin. And no, I don't mean the young boy who created an unwanted fever, or the one out of N'Sync who's post group era I did actually quite enjoy...or even the one who brought back the A-Team. I am of course talking about Justin Vernon, the inspirational lead of the most mesmerising group of the past few years, Bon Iver.

With immense help from his eight companions on stage, Vernon managed to captivate a sold-out Wembley Arena full of young bearded men who enjoyed the one night where they didn't have to convince people they're not growing it for Movember, but they are just naturally gifted at pulling off facial hair that unfortunately makes myself look quite threatening...

The heart-wrenching intro to Perth sent goosebumps racing to set the tone for what would undoubtedly become an unforgettable evening.

Thunderous lights, parallel to the explosive closing to the opening song, crashed down on the darkly lit stage.

The shredded hanging curtains and rows of small blue standing lights created a caved atmosphere to match their enclosed, earthy sounds.

Following the album set-up, the spectacular Minnesota brought us some intricately simple acoustic guitar playing with haunting falsetto harmonies while Vernon lullabies 'never gonna' break'.

The Grammy nominated Holocene was delivered to perfection. Every harmony and repeated brush of a snare left you hopelessly falling for all nine geniuses on stage.

Wash. provided the most simple, yet effective, Bon Iver opening. The two repeated chords formed the base, while the majestic strings and vocals alongside the train-like percussion allowed you to drop into your own magical world of unconditional bliss.

The compelling harmonic intro to Towers began the most impressively composed song by Bon Iver as the acapella vocals towards the end contrasted wonderfully with the complex climax.

Bon Iver. Pic: rockzoom_de

Vernon instantly befriended the audience once he stepped onto the stage and his awkward yet incredibly comfortable conversing only kept our eyes and ears glued.

Intriguing support act from Watford, The Staves, warmed up a chilled audience 

who waited graciously in anticipation.

The three sisters were clinical in their harmonies and created quite an atmosphere using only their daunting voices, an acoustic guitar and a ukelele.

The group joined Vernon on stage while the remainder of Bon Iver took a break to enjoy Re: Stacks performed as an impressive stripped down version.

You could have heard a pin drop in a fixated Wembley crowd. Groups of heads turned unexpectedly when a phone's record sound was heard by many...

The Staves left to a gracious applause while the mystical Flume amazed before Calgary linked into Beth/Rest for an unfortunate out-of-place 80s synth-heavy end to an otherwise unforgettable set.

Thankfully, to rid the worrying potential that we just experienced the poorest song to close the set, it didn't end there. The encore went straight into trademark song Skinny Love with thousands singing to 'my, my, my...'. Who would have thought that this lyric could join so many together to share an unlikely classic Wembley moment.

Vernon then surprisingly called for audience participation to sing 'what have I lost?' in a mind-blowing The Wolves (Act II and II). The silences were as vital as the increased speed of the strumming and the repeated harmonised vocals in a faultless rendition.

Although final song For Emma was pleasant, the set probably went on one song too many as Wolves would have been the perfect closer.

Nevertheless, the band from Wisconsin have travelled far since their HMV Hammersmith Apollo performance just one year ago.

The soft folk rockers tackled the mighty arena with few flaws and can all keep their dignity intact after a heroic and memorable night.

Live Review: The Crookes @ The Sugarmill, Hanley

The Sugarmill, Hanley, Staffordshire, UK - 02/11/12

The Crookes' George Waite. Pic: Maanik Chadda

Sheffield-based band The Crookes hit the stage at The Sugarmill in Hanley with an uplifting vibrancy in the air.

Stoke-on-Trent favourites Moral Panics and fellow South Yorkshire group Hey Sholay had set the tone with confident support.

The local rockers were playing their final show with bassist Charlie Maskrey and were determined not to disappoint with a chilling acapella ending to Voids and a passionate-as-always rendition of addictive riff-based song Move Your Feet.
 
Following their successful mosh-pit at the Hippy Horror Festival in Blythe Bridge last weekend, the boys enjoyed a calmer response from the crowd.

Although a risky shortened cover of LMFAO’s Party Rock Anthem was off-putting, they swiftly moved on to leave you with that typical Moral Panics uncontrollable urge to sing ‘and all the talking…’ in your head over and over again.

Hey Sholay impressed without ever really surprising. Their solid set was pleasant but never broke the boundaries they always seemed capable of going through.

They play a self-described “breed of psychedelic independent pop with a hint of the Northern Lights captured in a jam jar”.  That twinkle in the sky was slightly blurred, but was still there.
Liam Creamer’s stunning vocals were at the forefront of a wonderfully balanced performance which deservedly maintained the attention of many.

The band are supporting The Crookes for the following two weeks after becoming great friends and competitors.

Hey Sholay's Liam Creamer. Pic: Maanik Chadda

Keyboard player and guitarist for Hey Sholay, Liam Ward, said: “We used to see them in a pool hall and play with them and then they got us to play squash with them because they’re really big squash players.

“There’s a fierce rivalry,” he joked.

The Crookes’ Drummer Russell Bates was pleased to have them on the bill too.

“They’re bloody great and they’re top lads,” he said. “So we thought ‘let’s take them on tour’.”

Although the crowd were perhaps not as lively as those at some of the  recent European shows the headliners have played, The Crookes put on a fine display.

The four-piece caught the ears of the crowd with their catchy riffs and built-up guitar and drum combinations while George Waite’s effortless vocals captivated the audience, particularly during an acapella intro.

Particular audience highlights included Bloodshot Days and George’s hair thrashing over the microphone.

The most poignant moment of the night was at first the most confusing.

One by one The Crookes strolled down the steps to take centre stage of the dance floor to perform an appealing acoustic number.

All four sang harmonies while the surrounding crowd stared in awe, clapping along to its crescendo.

They also provided a consistency of electricity between band members and the ability to make enough fans rock lightly from front to back, and occasionally even from side to side.

Click below to see more images from the gig:

                              

Live Review: The Temper Trap @ KOKO, Camden

The Temper Trap frontman, Dougy Mandagi. Pic: pamhule

KOKO, Camden, London, UK - 22/05/12

Thrashing melodic sounds combined with political meaning attempted to suggest there's more to The Temper Trap than just a sweet pop song once loved by so many before its repetition and demise.

The Australian London-based band summed up last summer's riots with a blood red stage and a classic 90s chorus outburst in London's Burning.

Average first single Need Your Love, opener from the self-titled album released yesterday, provided a familiar guitar riff and too simple a sound, failing to compare to debut Conditions opener Love Lost. This track followed to much delight from an aroused audience who played along to the addictive clapping rhythm.

Although new album fillers Miracle and Rabbit Hole were pleasant, they never reached the heights of Down River. The passion poured out of Jonathon Aherne's acoustic guitar as frontman Dougy Mandagi paraded the stage shouting 'Don't stop!'

Trembling Hands asks us to throw Dougy a line and it seems like he may need the support as the dull chorus is fairly uninspiring.

Thankfully the addictive guitar riff of Science of Fear was not far away and the first of a trio of song highlights soon mesmerised. The breakdown during the track was perfect before a captivating build-up culminated in a grateful applause.

Resurrection quickly followed to keep up the momentum and a superb crashing down with the drums taking poll position was well executed.

The instrumental Drum Song closed a pre-encore set in extravagant style as the band gave it their all and Dougy caught our eye by cheekily pouring water on his personal cymbal before rashly smashing down.

The group returned with the bewitching Soldier On before a dreary new album track disappointingly prepared us for the climax of the evening.

Sweet Disposition met all expectations and the crowd were certainly satisfied trying to reach Dougy's falsetto wonders.

Unexpected 'oldies' were the joys of the night as the new album falls short of any positive comparisons.

Below is the video for The Temper Trap's Trembling Hands:

               

Music Review: Dog Is Dead @ The Sugarmill, Hanley

Courtesy of The Sugarmill, Dog Is Dead

Nottingham's finest treated The Sugarmill in Hanley to an unforgettable Friday night. 

Local support from Stoke's Moral Panics provided a comfortable opening set through their self-described mix of odd-pop, rock and electronic.

With intriguing riffs from 'Move My Feet' and strong Alex Turner inspired vocals on penultimate track 'Voids', the trio showed why they are The Sugarmill regulars.

Although they performed a solid set, they never truly delved into the extraordinary.

Fiction's claim to fame through a Ford TV advertisement with 'Big Things' contributed greatly to propelling their career.

The catchy song was the likely highlight of the well-balanced set featuring water coolers, bin lids and a very enthusiastic Danish percussionist.

Changing instruments regularly on stage can be distracting, but the multi-talented members did it skilfully by utilising both lead singers and drummers to feed the growing curiosity of the audience.

The calming arpeggio of closer 'The Apple' ended a surreal yet familiar sound from one of London's rising talents.

Courtesy of The Sugarmill, Fiction

The pleasant indie-pop to follow was well received, and rightly so.

Dog Is Dead justified why they were a 2010 BBC Introducing act at Glastonbury, why they performed their debut single 'Glockenspiel Song' on Skins, and why they have supported folk rockers Bombay Bicycle Club on tour.

'Glockenspiel Song's fitting words for the teenage drama; 'we are a mess, we are failures, and we love it', sum up the carefree attitude the band poured out throughout the night.

'River Jordan' can't help but put a spring in your step as lead Robert Milton tells us rightfully that 'it goes on and on'.

The simplicity of the addictive drum beat and soft background opening guitar riff are crucial before the contrastingly heavy crash down and the light tap of the snare with harmonic vocals.

The upbeat crescendo of 'Young' alerted the alcohol inflicted eyes of the audience to make themselves seen and heard. The band expressed the sweaty folk passion and gorgeous harmonies of Mumford & Sons and vocal familiarities of Noah & The Whale's Charlie Fink, resulting in a highly unexpected yet welcomed stage dive and mosh pit among the crowd.

The Sugarmill played host to a headline act whose exploding jazz-folk-rave will no doubt be bursting their way through as one of the UK's most unique acts.

Rufus releases the stars for the perfect Kenwood picnic

Rufus Wainwright - Natasha by bearofaman

Rufus Wainwright @ Kenwood House, London, July 3 2010

Courtesy of Ella Mullins, Rufus Wainwright

Rufus Wainwright knows just how to put on an inspiring show for an outdoor summer's evening.

The crowd were in awe of his presence from the moment he stepped onto the Kenwood House stage.

Last night, Rufus managed to light the stage throughout the night with the help of his breathtaking pianist. Playing songs off of his recent masterpiece; All Days are Nights: Songs for Lulu, and classic hits such as 'Cigarettes and Chocolate Milk' and 'Going to a Town', he created the extravagant sounds of an orchestra using just himself and a piano.

Beautiful support from Guillemots singer gone solo; Fyfe Dangerfield, set the scene for a succulent picnic performance.

The crowd grew accustomed to Rufus' intriguing stories as he created a warming atmosphere for the evening.

At times he did became too comfortable with the performance and was forced to restart songs. Nevertheless, Rufus had the affectionate personality to maintain the audience's concentration and still look and sound amazing (even if it was being recorded for radio!)

The spectacle remained superb despite the restricted views from the distant grass.

The gig was a return to Kenwood for Rufus after two years, and he still continues to produce that emotional spark with the audience.

The night was a great success and he received a fully deserved encore from his thousands of fans. The fitting hit Shrek cover of 'Hallelujah' left everyone hungry for more. Until next time, Mr Wainwright.

To find out about future Rufus Wainwright performances visit Ticketmaster or his official website.