Gig Review - Phlexx Presents ft. Yazmin Lacey, Heavyheads and Josh Wheatley - 08/05/2014

Originally written for NottinghamLive.

It's always interesting when new venues pop up. There's always a curiosity and anticipation to how it will all work out. How the venue will feel, how the music works there, how much you're going to enjoy it... These are all questions that came to mind as I walked into Nirvana, a new venue which resides where Tantra used to be. But it's had a make over. It's modern and chic with the purple décor and slick new refurbishments. It's relaxed, with an ample seating area and a dance floor in front of the DJ booth and performance stage. It's been open for a little while now, but this was my first time after it's revamp, and I really like it. The relaxed atmosphere of the venue is enhanced by the music, as before the live music kicks off, there's ambient reggae/soul playing, which is perfect. But before long, JOSH WHEATLEY makes his way to the stage.

Josh is always a treat to hear, and he opened proceedings perfectly with From The Wild, which was beautiful and delivered with a humble confidence that makes Josh so likeable. His songs almost feel fragranced, as the poignance spreads through the room. He straddles confidence, charm and vulnerability perfectly. His set is varied, with some livelier numbers such as his Foster The People cover, which are welcomed amongst his sadder, calmer numbers. He ends with Follow The Smoke, which is the title off his recently released EP. It's a sweet and delicate end to his set, and with the lyrics left lingering in the room, it's sets the space for the next band to take to the stage.

HEAVYHEADS are next on the line up. Although the line up seems to have undergone a few changes from the original, but none the less, Heavy Heads are ready to go, donning the performance space with their cajon, guitar and Benylin. Yes, the lead singer has the lurgy. But this doesn't detract from the performance actually, with his vocals sounding pretty impressive throughout, despite illness. They open with a pretty clever mash up of Nelly's Ride With Me, and Michael Jackson's Beat It, which I've had the pleasure of enjoying before so was looking forward to it. It's a lively and engaging opener, with the clever merging of lyrical ideas and melodies, it's really good fun. They engage in a fair bit of banter in between songs, which I remember from their set recently at Jamcafe. Although this time it was mostly about sipping cough medicine like it's apple juice. They have a varied set, with fun quirks such as the lap style guitar. They're very entertaining, and really chilled out, which suits the venue well and the general feel of the evening. They end their set with Bob Marley's Redemption Song, which goes down a treat and fits the evening well, as reggae-fusion fills the gaps between the sets.

Finally, heading up the live performance for the evening is YAZMIN LACEY, who takes to the stage with her guitarist. She's modest and humble on stage, which suits her performance style, and her music. Her vocals are soft and sultry, with a breathiness which is so smooth and almost haunting at times. Her vocals work well over the guitar, which often contrasts but compliments them, being lively and upbeat whilst her vocals remain cool and collected. Her songs are varied, with the guitarist developing his style of playing throughout, with a nice mix of fingerpicking and strumming. These musical parts are key to their set, as they add flavour and intrigue to Yazmin's steady, straightforward melodic lines. Her songs are sweet and gentle, with gorgeous soulful lyrics and an open, honest delivery. I'd love to see even more emotion coming through, as I think she could really pull it off, but for the relaxed and chilled out atmosphere of the venue, it suited well. She got a massive response from the audience throughout, with lots of whooping and cheering, with Yazmin announcing into the microphone “You can tell that these are all my friends”. But even those who weren't familiar with her work enjoyed it, From A Lover was a wonderful end to the set, ending the live performances with sweet melodic lines and lush guitar chords.

Nirvana is an interesting venue, which is nice to go to if you fancy your gig evening turning into a party, as I ended up doing some dancing to reggae afterwards! It's great to see a venue not focusing on the charts and going for some more interesting musical directions. It was a great evening.

Gig Review - Opie Deino EP Launch - 16/04/2014

Originally written for NottinghamLive.

Having been a fan of OPIE DEINO, or Siân, from the moment I heard her play years back, I was pretty excited about this gig. I haven't heard her for a while, but I remembered her talent and amazing personality to boot, and I just knew her EP launch was not to be missed. So I hoofed it down to The Bodega (dontcha love longer summer days?) and arrived in time to get a drink to satisfy the dehydration, and then was ready to feel the music.

MOLLY & JACK were first up on the stage, and although there was only a small gathering of us in the audience right at the start, they didn't let that phase them, and proceeded through their set with confidence and an intimate sweetness which may have been lost in a larger crowd. Their vocal harmonies are both interesting and delicate, with Jack's voice often floating in an edgy kind of way above Molly's. Hers are often deep and smooth, whilst Jack's add a folky flavour. Both their vocal control is noteworthy, and their voices are so vibrant to listen to, both separately and together, that you can't help wanting to listen. They navigate their way through a mixed set, some moodier with darker tones such as Sea of Slumber and others provide uplifting pop melodies which are charming, such as Tiny Feet. They have a great chemistry, and are sweet together on stage, which really ties the songs together despite their range in styles and influences. Their final song of the set was Open Hearts, and with deftly fingerpicked guitar, it lays the foundation for heartfelt, open vocals to shine through. Both Molly and Jack have gorgeous vocals in this one, and pull it out of the bag for the final number. It's upbeat and their dancing/swaying and passion on stage makes me feel like they could work really nicely in front of a band, but for now their intimacy is more than enough, as they leave the crowd feelingly nicely warmed up.

Of course warming up is all they'll be doing as ROB GREEN takes the lead with his charismatic stage presence and upbeat soulful pop numbers. He seems extremely comfortable, which allows for a really close and personal performance which is very polished and expressive. His vocals are crystal clear and stunning, and if you've heard him before, his music can be fast paced and exciting such as in Straight and Narrow, and so easily he could slip and get the words wrong, but he knows his music inside out and this promotes a confident performance. He plays around with audience involvement, which I was a little familiar with due to his previous performances I've seen, but the audience got involved to an extent, and Rob still sweetly applauded us afterwards. The darker tones we hear in Cardinal are a contrast with their funky tones, which feel frustrated but still lively and upbeat, and easy to find yourself dancing to... Last time I saw him, he bashed out a 90's medley to the audience's delight, and this time he didn't disappoint either and got stuck in with a wonderfully crafted mash up, in which he even managed to sneak in a twitter plug... sneaky! He ended his set on a high, and received a massive applause. People love Rob, and Rob loves them back.

As OPIE DEINO gets ready with her band, the room is lively. People are excited, and are getting their drinks in ready and eager to see her perform. And she doesn't disappoint. Getting straight to the point, the band begins with Eli, the first track from St. Jude, the new EP which she's launching. What hits you first about Opie Deino is her gorgeously smooth and beautifully delivered vocals. She not only has a stunning sound, but she packs in so much feeling and emotion that it blows you away. The song begins gently, with the band playing subtly behind her, including some wonderfully imagined backing vocals, however soon it erupts into life and is intense and thrilling. The intensity continues in Monsters, where the deeper, darker melodies are contemplative. She begins this on her own, but as the band enters after an unapologetic 'counting in', it changes into something really creative, using some funky rhythm patterns which liven it up and a snare which pierces through. This number seems to dip in and out of the darker/lighter tones, which is an effective technique, as I certainly felt my emotions and even my heart rate changing with the song. The set is exciting and certainly wets the audiences appetite for more. It's a hugely supportive crowd, and it feels like a trusting atmosphere as Siân introduces the next number, Richard Parker, revealing it's based on some advice her mum gave her; that you may be stuck in the darkness, but eventually the light will come on again. It's very sweet, and we are taken on a journey through her emotions. In fact, the interesting song structures and attention to detail make her songs all seem like little adventures we are taken on. With the keyboard player adopting a trombone for this number, it adds another dimension to the music, and heightens it some how. All of the band are working well together, creating a professional and polished performance. After Already Home, another beautifully heartbreaking song, Siân decides to begin stripping back the set. She performs Origami next with just her and her bassist, which brings the attention to her vocals and reveals the songwriting talents she possesses. She continues to strip the set back, and plays India totally unplugged. It's a brave move, as it is quite difficult to hear, but the whole room silences to try. She admits she prefers playing this way, and does so for the next number Dive In, although she's also joined again by her bassist for this one, who instead puts the bass down and adopts an acoustic guitar too. The extra guitar adds some musical meat to the number, and the backing vocals do too. The bassist also has the opportunity to sing a verse solo, which is a really nice change of pace and texture.

She's joined by the band again for the final few numbers of the set. Firework & A Flame is a song which almost everyone can relate to. It explores the dilemmas faced when your mind and your heart want to go separate ways, and she discusses this topic with flair and originality. It's moody and emotive, and with a really funky, jazzy, key changing outro, it doesn't fail to be an interesting and multi-dimensional song. Next she plays Humbug, the single off the new EP. For this one she adopts a new role, putting the guitar down, and assuming a stance in front of the mic. She's still modest and herself on stage though, and it's great to see a performer so grounded in herself. Her songs never progress how you think they will, they change and adapt, and take interesting directions, and Humbug does this with real class, and she smashes it. Molly Brown ends the set, starting slow and gentle, but bursting to life with the band. The trombone comes out to play again, and the switching between trombone/piano provides a really interesting change during the verse/chorus. The audience go mad for it, and of course demand an encore, to which Siân doesn't disappoint. Donning just herself and her guitar, she ends the set exactly how I first came to know and love her music, and so it feels very organic. Against My Enemies a song about her little brother, and it's so sweet to hear such a close and personal song as the final number. Her family are obviously important to her, and the raw performance is passionate and flaunts her personality and skill at face value, and it's a stunning way to end the evening. You'll love her as soon as you hear her, and if you haven't yet, make sure you put that on your to do list, along with buying the beautiful EP.

You can find out more about this artist through her Facebook page, and you can download the EP from iTunes here.

Gig Review - Ryan Thomas EP Launch - 04/04/14

Originally written for NottinghamLive.

As things begin to kick off in Jamcafe, it’s clear that there is a buzz for tonight. Arriving at quarter past eight, I of course was far too early, but had the pleasure of enjoying Ryan Thomas playing right at the beginning with his band. Although it was mainly an elongated sound check, it was like a mini-set, and provided a window to the future, teasing us with snippet of the things to come. After setting the mood, TOM MCCARTNEY takes to the stage. The crowd is growing, the anticipation is building and people are buzzing for the evening to begin.

TOM MCCARTNEY is a striking performer. His vocal talents, stage presence and charisma are endearing, and his youthful innocence is a stark contrast to the timeless nature of his songs. He has impressive vocals for his age, which he flaunts with lovely melodies delivered in a serious, intense, but also understated manner. There are a few mistakes here and there but he takes it on the chin, and it barely disrupts the songs or the audience, which is impressive. Although McCartney is a blues artist, the instrumental sections of his music can speak more of rock and roll at times.

‘I’m Feeling Blue’ is one of my favourites of the set, with both low and high chords on his acoustic guitar in oscillation, it sets the mood. Intensity builds as he sings “I have no-one to lay my troubles on, so I sing a song”, which sums up his set entirely. The simple, sweet, melancholic blues which Tom McCartney plays is painted with colours of pain and experience beyond his years. I can’t wait to see where this artist goes – if he’s this good now, where will he be in even a years time?

After Tom’s moody set opening the evening, ANWYN WILLIAMS takes to the stage, instantly claiming it as her own as she kicks things off with ‘Drinking In Bars’. Her bright vocal tones and country-style of singing livens up the audience, and the tone of the evening. Her set navigates through a variety of different numbers, some which are uplifting and others which are much darker, but they are all endearing. Anwyn even busts out a new song, which she admits on stage that she “shouldn’t be risking it three songs in”… However it is polished and impressive for a recently written song, and she stuns the audience with her professionalism. The audience remains enraptured during ‘Walking Now’, and as they whoop and cheer for her. The final song of her set, ‘Going Gone Away’, is one of her strongest numbers. It’s lively, upbeat and prepares the audience for the next band in style. The crowd has expanded and it’s very busy now, as people try to get their drinks in, or their cigarettes smoked before the next act.

HEAVYHEADS open with a lighthearted number, which is upbeat but no less heartfelt with impressive and lovely vocal deliveries. The band consists of a cajon, guitar and lead singer, which is a simple and laid back ensemble, with both guitarist and cajon player sitting down on stage it promotes a relaxed atmosphere (or at least as relaxed as Jamcafe can be on a Friday night!). The set moves on to livelier numbers, which are fun and enthusiastically performed.

It’s great to see bands being a little unconventional, and HEAVYHEADS are just that as the guitarist turns his instrument over and plays it on his lap, which is exciting to see, and musically is changes the scope of the song, becoming more percussive. The stage presence of this band is a confident one, with the frontman singing the repeated vocals; “I’ll carefully watch you fall” as he dons a beer in one hand. I can’t help but feel that I hope I don’t watch him fall, beer would be everywhere! The next track is a really fantastic mash-up of Michael Jackson’s ‘Beat It’ and Nelly’s ‘Ride With Me’. It works really, really well and the arrangement is superb, using interesting techniques, and some nice lyrical mash-ups as well as musical ones. The crowd loves it, and cheers enthusiastically for the band as the song comes to a close. After a sweet ukulele song written about the Sleep Easy event which recently took place to raise awareness for homelessness, the set draws to a close, as the lead singer passionately sings to the audience “please comfort me”, it’s a heartfelt, delicate and wonderful song to finish on. The audience certainly did comfort them in the form of enthusiastic applause, cheering for their performance.

Finally RYAN THOMAS takes to the stage, he looks dapper in his suit, and set to impress. With his full band in tow, they add depth and layers to the music, which is vocally strong and is a pleasure to listen to, as witnessed by the full capacity crowd and cheering audience members. He’s passionate, but his band members are just as dedicated, with arrangements that allow for guitar solos and vocal melodies to come through. Ryan’s vocal style is grizzly and the same throughout the set, which charms and entertains with many different styles in the songs, they’re all blues infused, but there are other genres in there; rock, pop, soul… The full band allows for these glistening snippets of their influences to come through, especially on bass and electric guitar which are played with flair and precision. RYAN THOMAS also engaged the audience in some lighthearted banter between the songs, culminating in the whole bar singing ‘Happy Birthday’ to a friend of his. It’s sweet and fun, although I just want to hear more music! Next up is a real treat with the wonderful ANWYN WILLIAMS joining the band for a while, and she provides wonderful harmonies to Ryan’s vocals. Their voices sound lovely together, although hers was quieter and harder to hear at times. Ryan sings solo mainly, but is joined on choruses by Anwyn, which works well, but I would have quite liked to hear Anwyn sing a verse solo too. It’s relaxed and chilled, and they are both comfortable on stage together. ‘Ain’t Gonna Cry’ with Anwyn was a particularly gorgeous rendition, as it was stripped back from the band which changed the pace, and allowed for the sadness of the song to shine through. The audience is enraptured with the performance, and many are standing and watching contemplatively, feeling the song alongside them. ‘Worries and Troubles’ followed, and it’s passionate and well controlled with a feeling of reminiscence and nostalgia in the crowd. The final song with Anwyn is slower and more contemplative, with really gorgeous melodies. It’s lovely and receives a positive reaction from the crowd, which only balloons in appreciation for Anwyn as she leaves the stage. With the stage to himself again, Ryan announces the final track of the evening; ‘Ain’t No Blues At Sea’ which is a fantastic crowd pleaser, with the audience dancing the night away. The drums are particularly good for this one, and the electric guitar adopts a more expansive approach, which ties in nicely with the lyrics and the atmosphere gives way for an ‘out at sea’ feeling. As the song finishes the crowd are getting rowdy, with encores being demanded from every direction, its clear that they are keen to hear more. Of course Ryan obliged, bringing out a bit of the funk for the final set to end the evening. The bass and guitar are really fun in this one, creating funk/blues fusions. The crowd go wild for it, and it ends the set on a really high note. It’s a fantastic launch with awesome performances from all the acts, and some really special moments that will be hard to forget.

You can buy Ryan Thomas’s EP on iTunes here.

Drama Review - 'Playful Acts of Rebellion' - The Gramophones

Written for Nottingham Live - original article here.

With the Neville Studio of The Playhouse made completely black, it acts as their canvas for THE GRAMOPHONES paint their 'Playful Acts of Protest' upon. With stage scenery including various sized step ladders painted in various colours/white, and a white screen with political statements written around it, such as “votes for women”, “peace not war”, and “people before profit”, it's a minimalist and angular set, which provides a disjointed background for the political ride which The Gramophone Theatre Company take you on. It's a vibrant piece, made more so by the bursts of colour which the three performers are wearing. Reds, greens, purples, and blues make up the performers costumes, and reiterate the playful nature of their piece. Their colourful attire matches their colourful personalities, and one of the beauties of this show is that you feel as if you are truly getting to know the performers individually, as they express their personal stories with feeling and conviction, and each with a glittery uniqueness. They use multimedia cleverly, by using a projector to display images on the previously mentioned screen, and they also utilise a video camera in one part to simulate a video documentary, which they record and project at the same time, which has a really interesting effect. It's fun, and cleverly thought out, and really adds to the artistic effect of the production.

Audience participation plays a key role in the performance, with frequent ventures into the stalls, they ask for quotes, opinions and interactions. They hand out vegetables, and ask audience members to hold up placards, throw paper, and to also hold up two large cardboard breasts. It's great to be involved, and the laughing and conversations between audience members and the performers makes it seem really relaxed and open, helping us to connect with them and their messages. Their messages are political and each person has their own political agenda; Ria campaigns against capitalism, whilst Kristy fights against food waste, and Hannah stands up for women's rights. Their political stories are told to us sporadically, and on a rotational basis. We won't just hear one story all the way through, we'll hear part of one, before it switches to another member. It's an interesting method to keep the audience engaged, and a way to spread them out evenly, but sometimes it can feel a little disjointed. The play is entitled 'Playful Acts of Rebellion', and it certainly is that, with rib tickling comedy and a lighthearted feel, it certainly displays the more fun and frivolous nature of political protest, however in this, I feel it's treading too lightly. They missed a trick with the political aspect – it could have been made much more emotionally three dimensional with some real, engaging material. A few statistics were mentioned here and there, and there was a picture of a bin with some slices of bread in it, but with the subjects they are talking about, they could have really engaged with tasteful, artistic, but gut wrenching political material, which wouldn't have dampened the mood, and done tastefully could have really plucked heartstrings rather than skimming the surface. I saw 'End to End' in Edinburgh a couple of years ago, and found it really emotional, and it actually brought me to tears, and I feel that the magical element of their performance was a little lost in this piece, which was disappointing for me.

Nonetheless, the overall production of the performance was really well done, with a creative use of the space and props and an engaging and entertaining method of storytelling, the performers successfully navigate their way through their own stories. They are such lovely characters, and their personalities and vulnerabilities shine through, making it feel like a very personal experience. Their honesty about their dilemmas with political activism ring true with most people who feel politically passionate about an issue, and it was really great to see these more personal sides to them. It's entertaining, vulnerable and fun, whilst also packing a bit of a punch, and is definitely worth seeing. For tour dates and further information, visit their website. 

Gig Review - Practical Lovers Single Launch 14/03/2014

Written for Nottingham Live - original article here.

It's the PRACTICAL LOVERS single launch, and as the room warms up, and the people begin to congregate in front of the stage, the audience is treated to the Clockwork Orange soundtrack, which I can't work out whether fits or not, I'm going to say it does. The quirky, off kilter classical music is interesting, and suitably alternative, and the pieces which are electronically altered fit quite nicely with the four bands about to take to The Chameleon stage.

As the first act RAINBOW DOWN began to perform, the room began to fill, not just with people, but with the intensity of heavily layered angsty synth pop. Sweetness kicks off proceedings explosively, with passionately performed vocals taking main stage over a dense, desperate and dark pop backing track. The emotion in the performance is obvious, with the amount of movement and dance on stage, and is engaging and entertaining. Pollyfiller begins more sparse, with a different feeling, but still retains the angst which Rainbow Down portrays so well. During the chorus the backing track expands, allowing space for the synths to fill the gaps. The density of the music is powerful, and barely gives you time to think, you can only feel it. Floating F**king Fading has a more traditional pop feel, it's a change of pace, but still retains the desperation in the tone of the music, and is alternative in terms of lyrics and delivery. Next up is a techno number, for which Rainbow Down encouraged the audience to move forward, and to dance to. The backing track on this one is punchy, with prominent hi-hat beats pulsing through the thickness of the synths. After this number he navigates through a few more original pieces, each one well performed and passionately delivered, before ending with Hammered, a song about not knowing what happened the night before after a few too many. Opening with a repetitive, interesting melody crafting the lyrics “What the f**k happened last night?”, it commands the audiences attention. It's a dark song to end on, with a heavily bass driven backing track, but it works well, and the outro is a repeat of the intro, which boxes the song, and gives a nice clean finish to a very raw and passionate performance.

I AM LONO follow, opening with Grey Kraut, it continues the angst-pop theme of the evening, with the lead vocalist going for it on keys, whilst the guitarist provides a great rhythmic backdrop for the passionately delivered vocals. During the chorus, lead vocals switch from the keyboardist to he guitarist, which adds texture, and their vocals really compliment each other. The keys and backing drops at tactful moments n the track, which makes them really poignant when they return, and gives the song extra movement. Leland follows, and the electric guitar is swapped for a bass, drives the song with repetitive melodies, which are drilling and mesmeric. The keys work well with the bass, as they contrast the low tones with higher pitched melodies, and it fills out the song, making it intense and emotional. Only Love continues this theme, and the intensity of the track is enhanced by low chords being played on the keyboard which are given movement and agitation by the heavily strummed guitar. The vocals are well controlled, and even when the vocal style is shouty it's still excellently delivered and well thought through, enhancing the music further and giving it the desperation which works so well. The next song, In Silence, reminds me off a lively, layered and ferocious version of The XX. The sounds are similar, but I AM LONO is edgy and has heartfelt, passionate vocal deliveries, with music which pushes forward with force. Too Bright kicks off with an intense keyboard melody, focusing on only a few notes, it's paranoid pop at its best. It gives way to gorgeous, deep vocals accompanied by baggy bass drums in the backing track, which makes the song feel spacious but busy too. The occasional return of the keyboard melody is tactful, and shows a careful consideration to the structure of the entire song. On stage, they're both engrossed in their performance, and are active, but not so much that it's distracting from listening to the music. They end their set with Everything Is Made Of Fives, a heavier, darker track which has more weight to it. The rhythmic vocals are focused around just a few notes, which adds to the track, giving a feeling of being stuck. The layered, higher pitched drones in the backing track provide an effective musical method of creating discomfort, but it's not unpleasant, it's actually very powerful. They end on a strong song, and I have to take a good few moments to breath and relax before the next act, who are what the evening is all about!

PRACTICAL LOVERS take to the stage, with much enthusiasm from the audience, and open their set with a classic of theirs; Textbook Romance. The bass kicks off the track with it's catchy, rising melodies which are livened up by the rhythm in the backing track. The liveliness of the song, and the upbeat melodies are a change of pace from the former bands, and although the lyrics and premise of the song are sadder, it's very danceable, especially with the addition of the synths in the backing track. The lead singer is hugely passionate about the music, and the emotion is bursting out of him with his aggravated, intense stage presence. Inside Job follows, which feels tortured with the repetitive melodies. The synths in the backing track add to this, by filling in headspace. The strummed, rhythmic bass pushes the song forward, and is well played as a lead instrument. Next up, they perform a Future Islands cover of Long Flight, which is more angsty than the original, with the deep, heartfelt vocals, it's given new meanings. The bass continues to be a lead instrument, however also retains some of the expected features of a traditional bass guitar. The song becomes truly vibrant when the bassist ventures into the audience, but the dancing and adventures didn't distract from the music, and they remained on form. Falling Down follows, where the repetitive vocal melodies seem to be stuck on emotions and memories, and the falling melody in the chorus reflects the lyrics. I glance behind me, and the crowd is dancing. It's bittersweet and this evidently resonates with the audience who are enjoying the set. The song builds towards the end section, where furiously strummed bass and the intense synths completely fill the room with musical paranoia and angst. Restless is more fast paced, with rhythmic bass which is relentless, and feels entirely restless as the song would suggest. The lyrics are painfully honest; “If I don't know myself, how am I going to bring someone along with me, what's wrong with me?” again it focuses on the difficulties of love and the mind, and how they often struggle to work together. The song is short, snappy and over quickly, which again fits in well with its title. Put It Bluntly is less prominent in the backing track, which allows for the more raw sides of the two of them to come through, and without the heavy synthy overlays, it's blunt, and honest. The rhythm is still strong though, which gives the song an inherently pop feel, and drives it forward. Next up, they announce that “it's the moment we've all been waiting for”, and after some audience banter, they begin playing the single they're launching; No Reply. It's spacious, with an echoey backing track, and baggy drums which are almost condemning, which suits the nature of the song, condemning the lead singer to his torment on receiving “no reply” to his advances. The feeling in the room is a great one, with Practical Lovers performing really well, and getting really involved with it, the audience is with them too, and it's a great atmosphere. The vocals are deep and are complimented by the interestingly played bass, which seems to be influenced from the previous use of synths, and plays a disjointed, jumpy melody in the verses before switching to strumming in the chorus. It's great to hear this experimental side of the band coming through too. The instrumental outro is very intense and desperate, with penetrative oscillating patterns which heighten the emotion of the music, showcasing the pain behind the song. The song ends both dramatically and playfully though, with random plonking on the synth from both the singer and the bassist, who are evidently enjoying themselves. The music warps and distorts into the final track of their set Never Again, which is a fantastic end to the set, and gets the audience going one last time. PRACTICAL LOVERS are fantastic live, and are entertaining, and afterwards you won't know whether you feel happy or sad, but it's worth it.

Wrapping things up are APRIL TOWERS, who definitely inject a dose of happy electro-pop into the evening, which gets people dancing and into the Friday feeling.Their set up is interesting, with three keyboards, guitars, and vocals, it's almost like they have a fort of instruments on the stage. Opening with When The World Screamed, the lead vocals feel heartfelt, and a little vulnerable over the confidence keys and backing track. The vocal melodies are powerful though, and the vocals are well controlled. The higher pitched electric guitar passages over the intense synthy backing, which adds texture and direction, and works really well. Marisol follows with its distinct samba tones in the rhythm section of the backing track, but it develops and changes into a full blown pop song, but with a really chilled vibe. The vocals are strong, and remain so in the falsetto sections too. It's easy going, with gorgeous expansive synths making the track feel spacious and relaxed, but still retaining a strong drum beat which makes the track entirely danceable. Electric Storms is next on the setlist, and with its varied and exciting sections, and switching between instruments, the pair keep it interesting, and the sections are very different, which gives the audience new elements to latch onto. They have a great stage presence, and have good communication between each other, and are obviously concentrating, but also very involved with the performance. Arcadia follows, which also flaunts the singer's falsetto during the gorgeously dark bridge section, which is a nice contrast to the previous tracks of the set. The anticipation builds in this track, before it erupts into the chorus, and builds up the anticipation ready for the final track of the evening. Tell Aviv begins almost anxiously with the heavy, synthy drum rhythms, and a gradually falling melody in the verse. It builds to an eruptive chorus, with the melody dramatically rising in pitch for the line “We get so high when we're together”, which is clever and also incredibly catchy. The guitar in the verses also sounds particularly good, and the keyboard layering in the chorus really recreates the romantic feelings of the song. It's a fantastic, upbeat end to the set, and appropriately leaves the audience feeling in high spirits.

By Cassia Helme

Gig Review - Notts In A Nutshell 03/03/2014

Written for Nottingham Live, original article here.

Notts in a Nutshell is a regular night at classic Nottingham venue The Maze, where local bands are able to showcase their material, and try things out in a comfortable environment. On 3^rd March I ventured down there to see what was going on, and it turned out to be a very interesting night.

First on stage was SHAMAN ERGINER, who donned his acoustic guitar, and performed a varied set, consisting of mostly covers and a few originals. He has a good grasp of the guitar, he mainly strummed his way through the songs, and I would have liked to have seen some more fingerpicking too just to add some more spice and variety to his set. His vocal delivery is emotional and passionate, and carries all the songs well. He varies his covers from the originals, giving them his own stamp, but some stay more close to them than others. He has a nice stage presence, and is a warm character who the audience can feel close to, which serves him well. It was a good performance, and started the evening off nicely.

Taking things to a whole different game was the Derby based THE ORAMICS MACHINE, whose songs were interesting, and had some excellent sections. The first number they played began quiet and slow, gently rocking out, but then it just drops into seat trembling heavy sections which are full of angst and pain. The guitars are heavy, and the vocals are vulnerable whilst still retaining some power. What drew me to them was the pure intensity of their music, it's in your face, it's painful and heavy, whilst having quieter, softer sections where it almost hurts after the angst fuelled noisiness beforehand. They utilise their instruments well, taking careful consideration into the soundscapes of their songs, with nice uses of varied time signatures to make some numbers kind of trippy, whilst others use dischords to shake things up. They're off kilter and it works for them, and I hope they continue to gig down Nottingham way in the future.

Next up were newly formed band BAYBO SQUAYBO with their first ever performance. Considering it was their first gig as a freshly formed band, they were very focused and in tune with each other. Opening with a track called Disease, the lead singer's vocals are strong and clear, and display vulnerability over a powerful rock ensemble. The song is constructed well, and is nicely balanced with guitar fills between the powerful vocal lines, it packs a punch but is also emotional. The next number Self Aware has some beautiful vocal melodies which carry painful, heartfelt lyrics over a more chilled musical atmosphere. It has some really interesting chord progressions into the chorus, and some excellent backing vocals from the second guitarist, who takes the reins for the next number. He has a really passionate delivery, and is very different from the other lead singer, and shows another side to their band. The instruments are layered well with some really nice solos going on, and the drums are really tight and keep everyone together. Although all the members were in bands already, it's surprising how well they are working together for their first gig, it's very professional. The next song with working title Jazz Ting-a-Ling brings both vocalists together, where they throw the vocal melodies between them, sharing the role Their vocals are different, but merge well on stage, and add new layers to the music. The guitar melodies are very progressive in this one, with some excellent lead guitar solos and it's obvious this band has a wide variety of influences which are shining through here and there, such as jazz/blues elements. Next they played a very good cover of My Hero by Foo Fighters, which was followed by their last track of the evening, an original called Life. This song is really passionate, with heavy sections that are deep and intense, but that are followed by lighter, spacious sections too, which still retain the memory of the heavy parts, which makes them really poignant. Their are some excellent drum solos too, and the changes of time signatures in this and their other songs provide some new elements to latch onto. It's a fantastic performance, especially considering the circumstances, and can only see this band improving and I hope they gig a lot more.

GREEN HILL ZONE followed, with their more traditional punk rock sounds. They were heavy and played with direction and passion, and the vocals were strong and forceful. Although the songs were melodic, the vocals were still often shouted, being reminiscent of heavy metal music, which seemed a bit out of place for the style they were going for. Although when the melodies were present in the vocals, they had good progressions. There are some well structured songs, with good bass driven sections, which gave the songs a focus and a drive. The songs were fairly similar, and emulate a more overarching umbrella of the sound they're going for, and some more variation and experimentation, and travelling away from their comfort zones would be really interesting to hear in the music. Despite the lead singer losing a capo for one of his songs, he manages to pull it off well, and despite the inconvenience, he still produces some really nice guitar melodies which support the vocals. The harmonies were sometimes slightly out of tune, which is a shame, as they could be really powerful. However, the haphazard style of the music, and the punk rock genre does tend to lend itself to off kilter vocals, and vibrant performances, so it does work on some levels. The band seems to put a lot of emphasis on their stage presence and how they come across as a band, sometimes more so than the music, with the vocalist and bassist going in for a kiss at a couple of points, and frequently playing their instruments to each other, but it seems like in these moments the music gets forgotten, rather than it stemming from the music itself. I do have to say though, that the lead guitar and the drums were really tight, and displayed some great musicianship. The set was lively, energetic and fun for sure, and definitely the kind of music you wanna hear if you're up for having a good old boogie.

CUT THE HEROICS follow on with a similar classic punk rock sound. The songs have some good melodies in the vocals and the instruments, with the vocal melodies often being mimicked in the other parts, showing some consideration to the song structures. The bass is really strong, and a little too heavy, as it booms around the room, and in my skull, which throws the balance of the other parts, and is a little overwhelming. It's a shame the bass is so loud, as it does effect my enjoyment of the performance because it's just too much. The vocal performance is strong, with some great melodies coming through, but again they can be quite forceful, which may be just stylistic of the genre, but it means I miss the lyrics which is a shame because I love hearing what people are actually singing about. Also, the bassist joins in with the vocals in some lines, and they sing in unison, which works, but trying out some harmonies in the vocals could work really well, and add extra layers to their music. They play well together though, and are musically tight, with the drums keeps things in check, and they navigate their way through the songs well and with ease. They seem comfortable on stage, and are understated, which is appealing, and warms the audience to them. They utilise the punk -pop/rock genres well, and employ classic chord structures for their songs. They're upbeat and fun, and with lighthearted chords and song structures, which can be a bit repetitive, and would be even better if they had some variations, as the chords tend to say the same throughout the songs. Their performance is commendable though, as they seem to be enjoying themselves and they're performing well.

My evening was varied and interesting, as all Notts in a Nutshell gigs are, as they display some of Nottingham's less well known music for your eyes and ears, and who knows, you could discover a new favourite band? At only £3 a pop, it's a great way to spend a weeknight, so pop down one week, and see what this city has to offer you.

Gig Review - Flip The Lid 02/03/2014

Written for Nottingham Live, original article here.

It was Brewdog's birthday at the beginning of March, and marking the occasion was a fantastic gig of wonderful local music put on by I'm Not From London. Flip The Lid is an acoustic night put on every two weeks at Brewdog Nottingham, which showcases some really special local talent.

Speaking of special local talent, kicking off the evening was ANWYN WILLIAMS, who I've managed to see so much of lately, that I think I'm beginning to know her songs inside and out! She kicked things off with the fun, lively, upbeat Drinking In Bars. After some slight feedback issues, it all managed to settle down, and allowed her to take the stage by storm with her powerful voice, and guitar which pushes the melody forward, especially during the “I'm fine anyway” lyric. The Rambler is next, which is a much darker number, with low pitched fingerpicked guitar, it rumbles and forms and angsty undercurrent, which moulds her deeper vocals and works well. Walking Now follows, and keeps on with the sadder tones of the previous number, with passionately performed vocals, and melodies which broke hearts, it's a gut wrenching song which gets me a little every time. She follows this with new track Old Bones, which she only played the previous night at The Breakfast Club's album party (which you can read the review here). It's a quiet song, letting the emotions settle from the previous number. The guitar is subtle and slow, and the simple chords allow for the lovely melodies in the fingerpicking and vocals to shine through. Another brand new song Bridges was really gorgeous, and had a more pop feel to it, which provided a nice change of pace from the country sound. It had a particularly intense chorus, again featuring heartbreak, which was repeated, building the intensity; “I burned all my bridges leading back to you”. Driftwood follows, with intense fingerpicking and flowing melodies, it seems very in line with it's lyrical content too, really painting a picture musically of driftwood floating down a stream. Going Gone Away ends her set on a high, with its rising melodies and upbeat delivery, flowing perfectly into our next performer of the evening.

MARTIN SANDERS steps on the stage with his blues fuelled songs, with a cover of Country Blues. One thing that occurs to me about Martin is his blues guitar is more aggressive than most I've seen, which is really great to see, and he teams this style of playing with a mixture of both soft and shouty vocals which aids the rollercoaster emotions of the song. Leave Me Be follows, which is another intense song, but is a bit more upbeat than the previous number, there are some really great pitch bending techniques being applied on the guitar melodies, which have a lovely way of filling in the vocal breaks. No Damn Good is the next song, which is another more downbeat number, and is more downtrodden with lyrics such as “go ahead and leave me”. It has a passionate vocal delivery, with a more rock influence coming through, but still retaining the classic blues style in the guitar. I even thought that the chord progressions and melodies were so interesting and progressive that it even reminded me a bit of classical music, but maybe that was the Punk IPA talking.The next song in the set was Cocaine (All Around My Brain), which picks up the crowd a bit with a more upbeat number. It has some particularly good chord progressions and great sections, and a strong vocal delivery. It seems like this song contains a few influences including blues, jazz, rock and even pop a little. It's great and Martin seems really connected to his performance, and really emotionally invested in the songs. His set ends on Four Til Late, which ended the set on a more traditional blues feel, which rounded his set nicely. It was a particularly entertaining set, and great to see such a confident musician really nail his craft and thoroughly enjoying himself in the process.

Next up on the bill is a very special set from THE FADE, who step out of their electrified rock comfort zone and perform a set almost entirely acoustically (except for the electric bass guitar). With both Jackson and Sam on acoustic guitars instead of electric, and Joe donning a cajon rather than his drum kit, it's a very interesting change for them. They kicked off proceedings with Capo on 2^nd, which is a gentle and sweet rock number, but with the acoustic set up, it really brings out the desperate tones in Sam's vocals, and the acoustic guitars simmer gently, and are given punch from the cajon and more direction from the bass. Jackson played a lovely solo on acoustic guitar too during this one. The song has lovely developments during the instrumental sections, which have a low key feel when played acoustically. 

Waltz On 2^nd follows, which is solely an instrumental number, which sounds lovely with the acoustic, almost spanish sounding guitar. The cajon and shaker comes through and highlights the subtle melodies. The rock influences come through still, retaining the usual sound of the band, whilst the acoustic set up puts a new spin on things. Some Things is next, with Sam introducing the song, telling us it was the first song they ever wrote. It's livelier than the previous two numbers, picking up the pace and acoustically driving the music in another direction. It's upbeat, but retains some angst and dirty rock sounds with the bass. The fast paced nature of this song means they all have to be extra aware of each other, and their set up becomes more apparent. They are sat in a semicircle formation, which promotes communication between the members, and they are working together really well. They also have be even more in tune with each other during Perfect Storm, the next number on the bill. It is a longer, stretched out number, which has subtle, low key, downbeat melodies. Acoustically it's kind of a different animal, with relaxed and sweet melodies playing out on gentle acoustic guitars. They're working well together, making sure they are all staying in tune with each other. The instrumentation is really nice in this one, with careful considerations to the arrangements and how the songs transpire to an acoustic set up. It seems like the balance of the instruments have been considered, and the time and effort pays off in a beautiful performance. It's laid back to, because they are all sat down together, it almost feels like a really great jam, which brings them closer to the audience. Ending their set with Best Before Blues, they pick up the pace again, and inject some energy for the final push. Usually Joe (rhythm) provides the backing vocals on The Fade's tracks, but due to the acoustic set up, the job has been given to Jackson, who takes on the vocals and adds a new tone to them. The backing vocals are deep and grumbly, with emotion and a definite moodiness which adds to the song, and contrasts nicely to the acoustic vibes. Their set was a laid back version of themselves, and it worked so well that I really hope they explore this set up more with some of their other tracks too. They work well as a rock group, but their stripped back acoustic ensembles brings out new elements to their music I hadn't noticed before, and was rather lovely.

Headlining Flip The Lid were CHESHIRE AND THE CAT, a popular feel good band in Nottingham, who certainly brought the party vibes for the final act of the evening. With trumpet, sax, bass, guitar, cajon and vocals, it's the largest ensemble of the evening, and the layers this provides certainly makes the music very funky and lively. Milk in the Morning is their opening track, with lively, jazzy and pop infused melodies, it builds up nicely with the trumpet and sax parts, before coming in with soulful vocals. The female vocals are passionate and strong, and her strength is complimented nicely by the softer and gentler male vocals. There are interesting sections in this number, and breakdowns, which prompt the audience into many false ending applauses. This enables the song to subtly change into the next number Beast is Back, which has a an upbeat cheeky feel with the rising melodies in the chorus, complemented by the falling melodies in the bass. It's fun, flirty and a burst of energy, preparing us for the next number Devil's Jazz. Which has a gorgeous chorus, with female vocals erupting, with their smooth chocolatey texture, and amazing strength. It's got great arrangements and some excellent sections, there also seems to be a nice mix of genres here, including jazz, hip hop, pop and even rock at times. The songs are fairly long, but they change and develop often, and the instrumental sections and solos are particularly good. Next up was a cover of Wandering Eye by Fat Freddies Drop, which had some really nice moments where the trumpet and sax are playing together, and are stood in centre stage with each other. They are obviously having fun on stage and enjoying themselves, which is a pleasure to watch. Both the female and male vocals in the verse are sang in unison, which I think personally was a missed opportunity for some great harmonies to unfold. The vocals are lovely though, and the solos are great with power but still retaining delicacy and emotion.The cajon is strong and a driving force throughout, but is very similar, and although you need the rhythm section to be constant and not going all over the place, a little more variation could be really great. The final number of their set is one of their more well known numbers called The Sax Song. This number is more chilled, and ends the evening in a relaxed manner. The song is quieter, with gentle instrumentation, which is nice underneath the painful lyrics and angsty melodies; “What happened to the love, what happened to the dancing? You said it's gone, I said you're wrong”. It has some great developments and although is quite a sad subject matter, it still manages to be upbeat, despite it's more chilled nature.

The evening was a stunning one, with fantastic music, and I left that gig with a big smile on my face. I thoroughly enjoyed it, and thought for a birthday gig, you couldn't really do much better! Thanks Brewdog!

By Cassia Helme