Gig Review - Winterhouse, Ryan Thomas, Eleanor Lee, Anwyn Williams

Written for NottinghamLIVE

This evening is another of the more 'parisian cafe' kind of gigs at Jamcafé, with candlelight subtly lighting the room, and people still eating at their tables, it's relaxed and calm. The atmosphere is perfect for the performers who come to grace the stage, and the first to do that is ANWYN WILLIAMS.

Anwyn opened with an upbeat and gorgeous number, with carefully constructed and lovely melodies. Her songs are folk/country in style, but her vocals are strong and gutsy and have that belt that you might associate with female pop vocalists. Her songs take a turn into the darker side as she progresses onto some deeper songs, which she explores the lower depths of her vocals and sings of more painful topics. The lower vocals are very effective over fingerpicked guitar, which adds tension and an undercurrent of unrest. Her voice is strong in every register she sings in, and her head voice was lovely when I heard it, but I would have liked to hear more. She sings passionately and with an intensity which catches you off guard. Her final songs of the evening are more lively, and show a more fun and playful side to Anwyn as she gets creative with melodies and performance.

ELEANOR LEE is the next to take to the stage with her guitar, and she instantly dazzles as her vocals are unique and her vibrato is intense but in a vulnerable way. The vulnerability and passion in her vocals give them such character, and this character seems to be nurtured in her songwriting. Her songs have really lovely developments, which puts the audience through their emotional paces, as calm and gentle sections often develop into intense and heartfelt outpours which are beautiful and heartbreaking too. Eleanor seems to have a strong emotional investment in her songs which translates in her performance, and when she changes from guitar to piano, this seems to be even more the case. She uses the piano well as an instrument, exploring the use of pedals which make the chords expansive and heady, which to me seems to replicate emotion. Eleanor's vocals will break your heart and mend it all in one song, and if you haven't heard her yet, make sure you do.

Changing the pace a little, the next performer is RYAN THOMAS, who brings his own brand of blues to the Jamcafé stage. He performs solo with his guitar and a harmonica at times, and harnesses both instruments very well. His guitar technique is flawless, and he has a really good use of harmonics too, which for me, is always a pleasure to see and hear. His vocals are gritty but controlled, and are really quite gorgeous. The use of harmonica in his songs compliments them, and adds a contrast in sound compared with his vocals. Some of his songs have a more indie/rock feel to them than the blues, which I think is good in a set like this, as it changes the pace and gives the audience something really different to listen to. In terms of changing the pace, Ryan does this again when he swaps his acoustic guitar for a Fender resonator guitar, which leads to a more bluegrass style of playing. Using a metal guitar slide, this brings some new pitches and techniques to his songwriting, and adds new levels of intrigue to his performance. It was a great performance, and an absolute pleasure to watch.

Finally, the headline act WINTERHOUSE took to the stage as a duo rather than a trio. The two of them coped really well without their third member, and gave another gorgeous performance. Their harmonies are flawless, and I loved the falsetto vocals, as they were delivered confidently and passionately. Their delivery was brilliant and their solos were really well executed, and make up for their missing member completely. With lyrics like “every day give a little bit of your heart away to someone who needs it” you can't help but feel connected to the music, as it is beautiful and poignant. The melodies have a wonderful direction and this is only made more prominent by the well executed harmonies, and even though their vocals sound traditionally folky at times, I also noted rock tones and country too. What struck me about their performance is how involved and invested they were. The two of them were really convincing and had obviously carefully considered the arrangements of the pieces, and were really in sync. Their stage presence is good too, and understated, which is nice because it promoted a relaxed and calm atmosphere. It did make me laugh when for their encore, they announced that the song was “really shit”, but of course it wasn't and ended the evening on a high.

By Cassia Helme

Gig review - LOIS, The Lunadogs and Crimson General - Jamcafe 17/01/2014

Opening last Friday at Jamcafé with a bang were CRIMSON GENERAL, a two-some formed from John Peel favourites Cherry Forever. They have a powerful sound, which is impressive for the just two of them, which is then furthered by their intense reverberated electric guitars and a strong rhythm section. The use of the drum kit is innovative, and rhythms are often complex and unusual which is a great technique to have under your belt and was very effective. Their music is well constructed, with some great transitions between verse and chorus in their songs. They sing gorgeous melodies with good phrasing and have great interactions between the two of them, and the audience. They seemed very comfortable on the stage and very much in their element. Despite there being two of them, their music is full bodied and rich, and they use their instruments in innovative ways to intensify their songs. They also have a great stage presence, and I enjoyed how the end of the set was only properly finished when the lead singer unplugged his guitar from the amp, a bit of showmanship never goes amiss!

THE LUNADOGS are next to take the tiny stage with their funky stylings. With the band stretching out of the norms with a theramin and an electric double bass, they definitely grabbed attention. Distinctive vocals are a powerful tool for The Lunadogs as the higher pitched melodies complement the rest of the band well, and are prominent over the other things going on. The electric bass is used in a broad way, and it is so great to see it both bowed and plucked with great care and precision. It is a fantastic tool both visually as well as musically effective in expanding songs. The bassist also operates the theramin, often playing bass at the same time, therefore is purely operating it with his body. Multitasking like crazy, he manages to get a good balance and a considerate operation of the theramin, which is no mean feat. The song structures were well planned, with some fantastically unusual key changes which added to the funk. There were also some lovely, lengthy instrumental sections which were well executed with good communication between the band. This was also demonstrated in their on stage jam, where they improvised a track on stage from scratch, which had a fantastic end result and really showcased their musicianship. Their music sometimes combines the funky with the spooky, as they can often have active guitars promoting dancing in the audience with great hooks based on a funk style bass part. On the top of this though, vocals can be haunting in their melodies, and when teamed with a distorted theramin, things can get pretty intense. The parts all gel well together though, and feed off of each other. The solos were great too, as they provided a change of pace, but I think that some bass solos would have been a welcome at times. Overall, an impressive and interesting listen, and well worth catching live.

LOIS took to the stage to headline the gig, taking the audience through a multitude of styles and genres, including rock & roll, blues, folk, rock, soul, country and even pop. With strong vocals and harmonies, the band put on an energetic performance, which was powerful and passionate. With strong, heavy bass lines, they build around them, creating well structured songs with catchy melodies. Spanning genres they tear up solos and get innovative by changing it up with a keyboard half way through the set, which changes the pace and feel of the gig somewhat. The keyboard creates a different kind of song construction, leading possibly to 'Be True To Yourself', which felt like a rock infused pop ballad, beginning with vocals and keyboard, and later developing into a full band. I enjoy the various stylistic changes though, as it always keeps the audience on their toes, as no one song is the same as another. Their tracks have excellent sections, and good instrumental breakdowns, with consideration being taken into the balance of their instruments. These performers have a good stage presence, interesting music and an enthusiastic performance style, and are happy to be there, and you would have been too!

By Cassia Helme for NottinghamLIVE

Gig Review - Blessing Magore, Matt Henshaw, Esther Van Leuven, AJA @ Pepper Rocks 14/01/14

Written for NottinghamLIVE - find online review here.

I had never once set foot into Pepper Rocks until Tuesday night, which was the Unplugged Pepper Rocks send off party, to say goodbye to their sound engineer who's off travelling the world. What struck me about the place was it's cosy, small, antique feel. Made with brick, stone and wood, it offers a rustic, traditional pub feel, but with a youthful/edgy side to it, making it a popular haunt for a more alternative crowd. Taking advantage of the £3.50 cocktail offer, I grab myself a Woo Woo (can't help but think that sounds a little risqué...) and find a seat, which isn't particularly easy as the room is jam packed. I'm suddenly grateful I found a seat, as the gig starts a fair bit later than anticipated, as they usually seem to in Nottingham, but before I know it, BLESSING MAGORE takes the stage with LANCE, who I'm not quite sure whether to call an accompanist or not, because he doesn't sing, and plays the lead parts in the guitar, so I think I'm just going to have call him Lance!

This is a slight change up to the original line up, possibly explaining the late start, however Blessing seems comfortable, and confident as he opens the evening. Having had Blessing perform for us on the NottinghamLIVE radio show, I know a little of what to expect, and I'm looking forward to hearing them perform. Both men are on guitars, and Blessing strums as Lance harmonises and adds flourishes here and there. They have a chemistry and complement each other, but possibly due to the level of noise in the room, I couldn't really hear the vocals in the first few numbers. However what I do hear is really nice, with Blessing's vocals being smooth and his accent adding another layer of sweetness to them. There are lovely melodic passages to his music, with careful consideration being taken to song structure, and although there were a couple of small slips here and there, they recovered quickly, and they were barely noticed. Blessing also dedicates a song to Claudia, the 'off travelling' sound engineer, as she is heading to Africa, where Blessing is from. The song is catchy, and the vocals have charm and charisma. Half way through the performance, they are joined on African drums by Daniel Ison, who runs the Pepper Rocks open mic nights. The addition of subtle rhythm brings out another tone to Blessing's music, but doesn't detract from the vocal and guitar parts. Blessing also dedicated the next song to Claudia, but this number is a little darker and almost haunting at times, and again it as some lovely melodies. I do think that the guitars can be a little too similar at times though, and can feel a bit like a jam, but when Lance explores the instrument more, it really does bring out more intrigue into the music, and think that even more use of interesting guitar techniques would be nice to hear. Blessing has a sweet style and lovely vocals, and is a comfortable performer. His performance displayed a variety of influences and was a joy to watch and participate in.

Next on the bill was MATT HENSHAW who I have not seen performing live before, so was looking forward to experiencing something new. What struck me about Matt was his interesting use of chords and powerful vocals. He opened confidently, singing a track I recognised from YouTube, which has a country style feel to it, alongside a bit of The Beatles too. He has a heartfelt delivery, with passionately performed vocals alongside strummed guitar. The next number grabs my attention as it is lyrically honest and lovely, with a passionate performance on lines such as “My door is always open if you need a helping hand, my words are here to guide you, there's always something in the way”. His vocals are impressive, and a little pitchy at times, but this is a result of his intense delivery and heartfelt performance. His vocals are in his chest voice, which is strong and obviously where he is most comfortable, but I would love to hear his falsetto too. The next song he performs is of a different tone, using minor chords, and interesting chord progressions, he instantly has my attention. The change of pace adds interest to his set, and the sadness of the song brings another layer of character to Matt. There is desperation and even anger in this song with lyrics such as “I know you're saying something, but all I hear is nothing that can help me change my life”. The interesting subject matter works well with the unusual chords. His next song changes the pace back to a more cheerful tone, as he dedicated the song to his fellow performers. Bringing back the country notes from previous numbers, the crowd is enthusiastic and is continually supportive. Especially in the next song which he says is for Nick Clegg, David Cameron and George Osborn, which is slightly unusual and has the audiences attention. He then proceeds into a song where he is “calling them out”, and it has a distinctive blues feel, especially in the guitar hook. The song is well structured, with attention being paid to the melodies, which develop really nicely, and are well contrasted from verse to chorus. He finishes his set with some soulful tracks more traditionally about love, and dedicated his last song to everyone in the audience, which of course receives a good response. His entire set was pleasantly surprising and lovely to hear, with talent and a knack for good songwriting, I look forward to seeing Matt again very soon.

Next on the bill was ESTHER VAN LEUVEN, who I swear I saw four times last week. I think I am beginning to know all their songs off by heart just from frequent listening! What I can say about this dynamic duo, is that they are always a pleasure to listen to. Their first number is one of their new tracks 'Mr Loverman', which is soulful and sweet, and both Esther and Frazer are taking extra notice of their performance with consideration being taken with dynamics. The vocals are delicately delivered, but are also contrasted by powerful sections in the chorus. Esther uses her hands on the mic to gesture alongside her vocals, which is nice to see with music of their style. I find myself singing along, because let's face it, I almost know all the words. Their next track is darker, with a sexy, cheeky air to it, and adds a contrast to their set following their opening number. With lyrics like “we'll take it easy but we won't take it slow”, it isn't completely obvious what they mean, but this leaves their songs open for interpretation, which I think helps the audience relate to their music, and form connections with it. Their performances throughout the next few songs are beautiful, with precision and passion for what they are singing, and with excellent chemistry they are an unforgettable duo with heaps of talent. They work so well together, and Frazer is a wonderful support to Esther who takes the lead on vocals, but Frazer in his own right provides a wonderful accompaniment and is vocally irreplaceable in this collaboration. They finish their set with 'Better That I Let You Go' which is a gorgeously varied number, with plenty of room for Esther to showcase her vocals. I particularly love Esther's lower range, as she doesn't venture there too often, but in this track we hear more of it. Their set ends on a high and I can't help but want to listen to it again after it's over.

Ending the evening is the gloriously glamourous AJA, who takes to the stage with her laptop and effects pedals, changing the tone of the evening completely, and adding an electronic edge to the proceedings. She is has a big personality but is warm and open on stage, and this is important being a solo artist. Her performance is passionate and interesting, as she masters the electronica whilst putting on a visual show too and singing. She doesn't inhibit herself on stage, and seems to fully experience her music through her body as well by dancing. Her music is varied and has a definitive artistic direction which makes it special. She uses various electronic techniques intelligently, and obviously takes pride in her work, as it is clearly well thought through, with some unexpected and interesting turns which keeps the audience hooked. She has a mixture of styles, some more lively and dance inspired, other slower and spacious, using heavy reverb and delays on the vocals, creating an ethereal element to her style, which is particularly resonant with me as I am a huge fan of all things ethereal. Unfortunately, I had to leave AJA's set early, but I can say that her unique style, talents, lovely personality and hardworking nature sets her up for an unmissable 2014!

By Cassia Helme

Gig Review - Youthoracle, Esther Van Leuven, Rob Green @ Nottingham Contemporary

Written for NottinghamLIVE - find original review here.

As the Nottingham Contemporary began to fill with people, YOUTHORACLE took the stage. Kicking off the acoustic evening presented by Outlaw label, rapper Youthoracle performed an a capella set, without any of the accompaniment we can expect to see on his forthcoming EP 'Flashfloods Vol. 2'. What struck me about him was his ability to be the first on the stage yet captivate an audience in a matter of seconds. He had good stage presence, and by pacing the stage and making eye contact with his audience, he seemed relaxed and comfortable. Despite lack of any accompaniment, the audience were hooked on his every word, driven by that relentless railway track rhythm which rappers/slam poets seem to have, just compelling us to listen to every next word. I was trying to rapidly quote lines whilst listening but failed miserably, partly because I could not keep up, but also because he says one insightful comment, and just as you process it, he hits you with another, and another, and another... and it's quite inspiring really. His subject matters were largely political, dealing with education, environmentalism, animal rights, religion, governments amongst others. I agreed with most of what Youthoracle was projecting, but aside from my own beliefs, he is undoubtedly clever with the formation of his words, and has a passionate and flawless delivery. I was just sad that he only opened the gig with the one piece, which I was told was a spoken word mergence of the tracks on his EP. I am certainly looking forward to hearing more from this talented performer, and just wish I could have heard more on the night.

Next up was ESTHER VAN LEUVEN, who took to the stage with accompanist Frazer Lowrie. There were a few technical difficulties involving the stage lighting, which seemed to be malfunctioning, changing the mood from ambient acoustic evening into more of a disco... but nonetheless they persevered through the odd flashing lights and did a very professional performance. Opening with a new track called 'Mr Loverman', Frazier Lowrie delicately fingerpicks the guitar, leaving space for the tones of Esther's voice to shine through. Her vocals are soft and well controlled, and her emotion really comes through in lines like “I know I'm a fool, but I'm a fool for you” which may be a little cliché, but are universal in feeling. The repeated vocals “Mr Loverman” in the chorus have a resonance with Shabba Ranks' song of the same title, which I'm not entirely sure were intentional, but made me smile nonetheless.

Another track in their set that stood out for me was 'I See Right Through You', mainly due to the darkness this track seems to have. The vocals from Esther are deep and sultry, which fit lines like “your silhouette is like a shadow, where I go do you follow” well. In this song, Frazer Lowrie's fingerpicked guitar really creates an underlying feeling of angst, which pushes the vocal narratives forward and gives the track direction and body. Possibly one of my favourites from this duo.

'How We Do' is the penultimate track of the set, and possibly the most popular. I think it's popularity comes from the universality of the lyrics, and with lines like “when you're feeling lonely, you need a brother or a homie”, it's not surprising this song is popular. The chorus of “I'm coming to save you” with it's rising melody feels hopeful, and Frazer's harmonies are beautiful. The variety of guitar technique throughout the song has been well thought through, with a keen attention to structure taking place, which made for a confident and emotional performance. The final track 'Better That I Let You Go' has a real Amy Winehouse feel about it, and Esther's vocals are impressive, as she ventures right to the bottom of her range, and returns to the higher registers, navigating her vocals well. Overall their performance was strong, well rehearsed and their chemistry on stage was undeniable, it was a great set.

Finally gracing the stage was ROB GREEN, who immediately begins having a friendly chat with the audience, discussing how it was two years ago that weekend that his first single 'Cardinal' was released on that very stage in Nottingham Contemporary. The interactions with the audience continue as he launches straight into participation, coaxing the audience to sing along with him in the “ooh yeah oohs” from his track 'Straight and Narrow'. The lyrics and melodies in the vocals drive the song forward, showing Rob's enthusiasm and passion for what he is singing. This passion is also demonstrated in the fact that when his hand wasn't playing the guitar, he was using the space to do hand gestures to further reiterate his lyrical points. Rob isn't shy, building a great rapport with the audience, chatting to us between the songs, which encourages us to take part. After another number he launches into a 90's medley, featuring songs by Destiny's Child, TLC and even The Fresh Prince Of Bel Air, which prompted the whole audience to get involved in singing a long and shouting “brap” when they recognised a song (by request from Rob!).

After the party that was the 90's medley, Rob brought it back down a bit, with 'Join the Party', a song discussing the pressures of fitting in.The song is contemplative and largely about self assurance, as he sings about having to “join the party”, but the lyrics are cleverly turned around later, becoming “the party better join me”. Cleverly, the change in the lyrical narrative and character also prompts a musical development, as the song becomes stronger and more grounded. I think the audience could really relate to it, as it embodied the ethos of the popular saying “what doesn't kill you makes you stronger”.

He followed the track with 'Better Things', singing about when you lose faith, but get support from the people you care about, with lyrics like “your insisting is leading to better things”, the audience remained captivated. It becomes particularly apparent to me in this song how much Rob enjoys performing, and how much fun he has. He was even playfully experimenting with his vocal range, going overly low in the chorus I think mainly for his own entertainment, which made me smile, and relax into it a bit more. Following this he played his first single 'Cardinal' to mark the anniversary, which was well received. But following this, Rob had a surprise up his sleeve... During 'Bad News', he drags an unsuspecting Nina Smith to join him on stage, as he claims “it would be wrong to sing it without you”. As an impromptu performance, it was wonderful to see, because they just got up there and jammed it out, sharing a vocal mic, and having fun. It was great to watch, proven by the audiences cheers. The following track was 'Home Superhero', which Rob dedicated to his younger brother. Rob stated that the song wasn't written about his brother in particular, but that it speaks of people who go out of their way to support you. I think the audience really enjoyed this slower and quieter track, as you could really see the sensitivity of Rob's feelings and his emotions during the performance.

This led on to the final song of the evening, on which Rob proclaimed he wanted to “end on a high”, and sang 'Good Side'. It was about trying to remain on someone's good side to diffuse an argument. The song was delivered excitedly, with the audience demanding an immediate encore, to which Rob obliged. The encore was another popular medley of one of his songs from the new album, mixed in with some more nineties hits and a return of The Fresh Prince, which ended the set on a huge high as expected, and leaves us all feeling warm and fuzzy inside. What a fantastic performance with Rob Green right on form, all I can say is bring on the album!

By Cassia Helme

Gig Review - The Cadets, Field Studies, Paper Plane Crash - Jamcafé 10/01/14

Written for NottinghamLIVE - find original review here.

Friday night at Jamcafé was a buzzing affair. Standing in the audience for the whole three gigs is basically a few hours of shuffling into a better position/avoiding drink spillages. In hindsight, maybe not the best night to wear heels, but I won't be making that mistake again! It was very busy evening, and people were just itching to hear some of Nottingham's musical offerings...

After sound checking, the stage was graced with THE CADETS, guitar heavy indie rock five piece with gritty vocals from the lead singer/rhythm guitarist. Despite being guitar heavy (bass, two electric and a rhythm guitar), their music had really nice sections, some with meaty rock passages, others with calmer, lighter fingerpicking work, which balanced each other out well. I would even say that there could be more quieter passages where some instruments fall back, as I thought that when this happened, it was particularly effective. Songs which stood out for me were 'Deep Red Eyes', 'Who's Gonna Save You?' and their final song of the evening, 'Rising'. 'Deep Red Eyes' is driven by a repetitive bass hook, on which the rhythmic vocal part is built, where the lyrics are demanding in the chorus: “Can't we be together always?”. The song pushes for answers lyrically and instrumentally, and the repetitions in the parts only highlight the passion felt behind the song. Questions continued to be asked in 'Who's gonna save you?', where the chorus really reiterated the moodiness of the song, and as all guitars were in tow in this track, it felt urgent and full of angst, which worked very well.

After a bit of joking with the band, the audience is prepared for the final song of the evening, 'Rising'. In this number there were some really good demonstrations of the vocal capacities of this band, as the lead singer put down the rhythm guitar and sang solo. His vocals were gritty and added to the rock influences in the music. However, the chorus saw the addition of the second vocalist on the lines “make it double”, which made me smile at its tactfulness. The two vocals suited each other well, but I would have really enjoyed hearing more harmonies, as they sing in unison more often than not, but the harmony sections were well executed and added more depth.

Following on from THE CADETS are ethereal rock band FIELD STUDIES, who brought the tone of the evening to an ambient but moody one. 'Blomst' opened their set, as it does their EP, and was ambient and spacious, with the reverberated guitars creating a thick soundscape, which was cut through by the prominent drums. The sharp vocals (no reverb) contrasted with the instrumental parts delicately, but had an almost melancholy feel due to their stark exposure. The song speaks of desperation and passion and is a brilliant opener.

They followed with a cover of 'There, There' by Radiohead which changed the pace from the first song by beginning with a driving drum beat on which the other instrumental parts built themselves. I thought that they did a fantastic cover, but also feel that the lead vocalist should trust his falsetto more, the small glimpse I had of it was truly lovely. Although maybe we can put that down to warming up.

In 'Island' the pace is turned up a notch, as there are lots of things going on, the parts are all doing something different, and all the parts are working together in counterpoint. Everything fits and works, and with the instrumental section changing the pace and becoming more ethereal, FIELD STUDIES do brilliantly in balancing spaciousness with activity. It's also worth mentioning that throughout the set. their bassist is a king of multitasking, juggling the computer, keys, bass and vocals at any one time. It was impressive! Their final song 'Mother Tongue' ended their set on a high, with powerful vocals and a passionate performance. The melodies are unexpected and feel earnest, which brings the audience in to enjoy their last song with them. It was a mesmerising set full of surprises, especially in certain tracks when ambient foundations were built on with new layers of rock. Their performance was just a joy to watch.

Finally, ending the evening were PAPER PLANE CRASH, a trio of drums, bass, vocals, and electric guitar. They were delightfully grungy, harnessing a bass fuelled set with an interesting use of chords. The female vocalist has a mid-low range which she used to her full advantage. It was great hearing a female musician really comfortable using this part of her vocals. She had a strong and confident delivery, playing bass guitar as she sang, which drew the audience to her. Although grungy, there were pop style hooks at times which livened the moods and promoted unharnessed dancing by the audience members, who are supportive in their singing and cheering.

The deep vocals were contrasted in some numbers by the electric guitar playing in the higher registers, and although sometimes they felt distant from each other, they still worked well and are glued together by passionate drums which keep the songs energetic. 'Barefoot Lies' was one of my favourite songs from their set. It was announced as their quiet one, and was contemplative and understated, letting the sad vocal melodies shine through. In the verses, the bass oscillated beautifully between two notes, which built anticipation and suspense, which didn't really resolve in an obvious manner, which helped me to relate to the lyrics regarding being “stuck in the middle”... it was a beautifully constructed slow number.

Their final track of the evening was 'Beach Fires', with their guitar riff reminding me a bit of Nottingham band Loophole Project. It has a more indie/pop feel to it, and according to the audience, a bit of a dance anthem. The higher pitched vocals were well suited to the track and worked well with the guitar melodies. It is also worth noting that the drummer could barely contain himself throughout the song, resulting in a very enthusiastic and passionate rise off his chair in order to drum standing up. It was great to see such enthusiasm, and also chemistry between the band members as they smiled to each other. They were well received by an audience who demanded an encore which unfortunately was not provided, although this allowed me to dash away to catch my last bus, which I was grateful for! Although I did walk past three piles of puke and two spilt takeaways on my way to the bus stop... The joys of a friday night Nottingham, eh?

By Cassia Helme

Ones to Watch 2014 - Nottingham Artists

Written for NottinghamLIVE 

‘Ones to Watch’ can be misleading, because they are meant to be the tip offs for who is gonna be big, who’s gonna make it, who might be the artist that you can say ‘I knew them before they were famous’ when they come up in conversation… This is simply a list of Nottingham artists who I believe are worth watching in 2014, as I’ve been wooed by their music and believe that you may be too. So enjoy, and keep an eye out for these musicians in 2014, as they are well worth making an effort for.

Cecille Grey

I caught this band supporting Natalie Duncan at Nottingham Contemporary in autumn 2013 and they blew me away with their musicianship, talent, passion and innovative style. Cecille Grey fuse music genres with delicacy and precision, creating something new which is inspiring and hard not to love. Their EP ‘You. Me’ is one of my favourites, and I can’t wait to hear more from them this year.  

Natalie Duncan

Linking from Cecille Grey nicely brings me to this soulful and stunning artist who pleasantly surprised me during her appearance on the NottinghamLIVE radio show last year. Natalie Duncan is talented but modest, and her understated stage presence lets her music shine through for all it’s worth. Her honest lyrics, beautiful melodic progressions and doubtless talent makes Natalie one of my ‘ones to watch’ for 2014.

Natalie Duncan

Captain Dangerous

Although they have been around for a while now, Captain Dangerous only came to my attention recently, and their gig at Jamcafé in winter 2013 definitely placed them in my good books. They got a fantastic crowd response and for good reason… they are brilliant. Commanding stage presence teamed with fantastic songs make them a definite one to watch if you haven’t already.


Gallery 47

Another artist which has come to my attention fairly recently. The fact that when I heard his music in the background I had to stop what I was doing and question “who is this?” made me realise this was something special. Gallery 47 has achieved recognition nationally in 2013 for his delicate and sensitive acoustic style, impressive falsetto delivery and interesting lyrical content. I hope that I can see a lot more of Gallery 47 in 2014, and his recognition continues.

Josh Wheatley

Josh Wheatley

Even if you have not heard a note of his music, I bet you’ve seen his name dotted around Nottingham a lot this year. He’s made a huge impression amongst much of the Nottingham music scene, proven by the popularity of his songs at the ‘Cover from Another Brother’ event at The Golden Fleece in December, where his songs were repeatedly being covered by fellow Nottingham musicians. His EP launch is January 30^thand I suggest you make your way to a Josh Wheatley gig sharpish, as he is definitely one to watch.

Nina Smith

Her comeback gig at Rescue Rooms at the end of 2013 marked the end of a year’s hiatus and the beginning of a promising 2014 for Nina. Her music has taken a new, interesting and vibrant direction, which is likely to grab the attention of new audiences. With a new band and an album in the running, I’m looking forward to hearing more from this talented artist.

Nina Smith

Amber Run

Their sudden rise to fame in less than 10 gigs got the more cynical of us believing there were other hidden workings on… but nonetheless, they have proven themselves to be a talented and hardworking bunch of lads, and that’s admirable. I reviewed their October gig at the Bodega and enjoyed it very much. They are definitely one of my ones to watch for 2014.

AJA

This artist writes/produces her own music, and with an in depth knowledge of electronica and ethereal vocals, her debut EP looks to be a stunner, which is highly anticipated amongst her contemporaries. Her teaser trailer promises an interesting 2014 for this artist, and I will definitely be watching.

Georgie Rose

She has always been a one to watch, and she continues to be. Her talents, passion and unassuming manner set her aside from other performers. With a live band in tow for 2014, I’m looking forward to seeing plenty of her gigs this year. With studio recordings on the way, be sure to grab your copy when it’s released!

Georgie Rose

Kagoule

With music on the menu after their studies, Kagoule are in for a busy, and I anticipate rewarding, year. I’m still new to them, but their talents and chemistry are undoubtable and have an air of Band of Skulls about them, and I’m looking forward to more performances from them in 2014.

By Cassia Helme

Hello again...

I've been a bit out of touch with my blog, but I'm hoping to create a portfolio of my writing this year, so I have something to showcase for imaginary jobs that may or may not arise. This seems like a good place to do that. I also need some more practise so this is a good way to continue writing regularly and keep it up.

I mainly plan on putting gig reviews up here, which I write for www.nottinghamlive.co.uk, but there may be other journalistic pieces in the future, and possibly some photography too.

So stay tuned! The first reviews should be up this weekend.