NICHART.com REVIEWS

Team Fresh presents The Brawl with Not Squares, LaFaro, Team Laser Explosive, Bee Mick See

- The Retro, Portrush.  Monday 28 December 2009

For the third annual Wigger's Brawl (now simply called “The Brawl”), I had a fair idea of what to expect: not the most professional of set ups, compensated for by a mix of excellent music, great people and a sheer party atmosphere.

Bee Mick See opened the event (and every band of the night) in energetic style. He seems to have been under the radar for the past while, which has meant he has escaped any likely comparisons to Team Fresh. But in truth his style couldn’t be more different. The combination of his “In your face style” (literally) and his harsh Belfast accent leads to an extremely interesting take on the rap genre. Lacking in places due to rather badly mixed-in ipod backing tracks, he certainly makes up for it with great showmanship and extremely well thought out lyrics.

Aside from Team Fresh, all the bands on the bill are new to the event but Team Laser Explosive did their best to rise to the occasion. I’m always sceptical about a lot of the “Post–you know who” instrumental bands, and to be honest I’m usually proved wrong. Once again this proved to be the case. Even though they seem to be new to the circuit, they definitely have a steady fan base showing them lots of appreciation. Taking inspiration from the heavier side of instrumental music (I’m thinking Adebisi Shank meets Russian Circles) they have plenty of energy and volume. The band may be rough in parts but definitely have potential to grow into a fine live band that I will no doubt continue to follow, though they did let themselves down by engaging in some cringe-filled topless banter.

LaFaro were next up and as always raised the volume level another notch. Tonight was always going to be a tad disappointing as my last outing with them was their mind-blowing demolition of the Ulster Hall. LaFaro definitely suit a larger sound system than that on offer tonight, though that didn’t stop them giving as good as they got. Showing off plenty of new songs, which is a treat, and finishing on the quite frankly brutal “Chopper is a fucking tout” left me almost forgetting my reservations. Almost.

Not Squares always seemed to be a bit of a strange choice for the bill, as I can’t recall them ever playing in the northern regions before and also for being the electronic outcast in a rock-heavy line-up. However, I think this might have added to why they were for me the highlight of the evening. Building anticipation from the start of “Don’t Do Nothing” leads to an all-out party when the vocals kick in, and sets the tone for all of their set.

From what I gather talking to some members of the audience afterwards, they were playing to a lot of people who had never witnessed they’re electro-thrash sound, though I’m pretty sure they have won over most if not all of the room. The use of two basses makes for a unique sound and the drummer has to have one of the most impeccable senses of time and rhythm I have ever witnessed.

From what I thought was a peculiar choice of band for this event, turned out to be a stroke of genius.

The last few months have been quite something for Team Fresh. After following them through years of tearing the North Coast apart, they seem to have gone from growing steadily in Belfast to being one of the biggest bands in the city. Due to so many commitments to other projects their set has largely remained the same from the setting up of the band, though this has proved not to be a bad thing as every song is welcomed with the euphoria of most normal band’s one stand-out track. Saying that, brand new opener “Causeway Rebel” has all the makings of another anthem, whilst “Last Orders” and “Attack on all fronts” persisted in battering and bruising nearly all members of the audience.

Also, the re-addition of Rory certainly adds a heavier element to the sound. This was not so much a homecoming gig for one band, but a continuous celebration of all the hard work and creativity of most members of the North Coast scene, with Team Fresh deservedly at its forefront. Finishing with a storming rendition of “Killing in the Name Of” might be an obvious choice, but it certainly didn’t make it any less enjoyable.  Thankfully they managed to steer clear of any false “Fuck Kelly’s Chants” which might have left a sour taste in the mouth.

The Brawl is without doubt the one night of the year a little town called Portrush can compete with any gig, festival, scene or party anywhere in Ireland.   Long may it continue.

Review by Niall Lawlor

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QUEER CHRISTMAS PARTY WITH QUEER GIRAFFES, KATIE AND THE CARNIVAL, THE BENJAMINS

- Auntie Annie's, Belfast.  Monday 21 December 2009

Just as Inigo Montoya did in The Princess Bride I have gone back to the beginning, although granted Vizzini didn't tell me to, but it's the time of year when you reflect  on the year gone by, and so I find it fitting that my last review of 2009 should echo my first for the site.  Tonight's festive line-up features two of the three acts I saw way back in  December 2008, with the notable absence of Miss Ciara Cowen, who has been overcome with illness.

First on the bill are last year's headliners The Benjamins.  This year has seen a transformation of the group.  Now frontman Andy McClenaghan is a one-man-show, after the other members left in March, and amasses other musical folk to fill in the gaps for the various gigs.  Tonight sees the first all-male line-up, and despite the change the quality and performance is as good as ever.  I'm not afraid to state that of all the local bands I've seen live, The Benjamins always deliver both for consistent performances and excellent songs. Tonight is no exception with highlights including 'Love Like Fire' and 'My My'.

Next on the bill is Katie and the Carnival, whose live performances are gaining a reputation for their quirkiness and audience contributions.  The group's set features a mix of original songs like 'Can't Get No Sleep' alongside Christmas favourites 'Santa Baby' and 'Last Christmas'.  Lead singer Katie Richardson's strong vocal accompanied by Carnival regulars Conn Smyth on guitar and Suzie Coyle with her vast array of tricks combine well with a novice drummer and bassist.  Audience percussionists all add to the mix and although the crowd is small they are much merrier by the end of the set.

The final act of the night are the Queer Giraffes, and as usual the line-up is a mish-mash of local acts with a Dutch Schultz bassist, a Benjamin guitarist, a Panama King on Pedal Steel Guitar and Katie (minus Carnival) on backing vocals, stepping in for the aforementioned sick Miss Cowan.  The most eye-catching spectacle however is frontman Steve Toner sporting neon pink skinny jeans.  Thankfully the music isn't tainted by his fashion 'sense'. 

The Giraffes keep their screaming fans (albeit two groupies down in front) happy with classics like No More Drinking, Sentimental and Rocky II gaining them much appreciation. Toner's NIchart Christmas chart reference in his introduction to Christmas ballad 50 Flights of Stairs attempts to get to number one (It got to number six subsequently) also gets a personal thumbs up.  The only other questionable decision they make (excepting the pink jeans obviously) is a half-assed cover of Fairytale in New York which started out promisingly vocal wise but which gets lost and beyond all recognition about a minute into it, with all members strumming glibly and looking to each other for reassurance which never comes.   But in fairness, of all the Christmas songs to attempt it is the most ambitious and the group deserve recognition for even attempting it in the first place.

The night resembles a Christmas gathering of friends and acquaintances with songs and a stage thrown in for good measure, although a few drunken rowdies did threaten to mar proceedings once or twice, all groups help to bring in the festive cheer, and Toner sums the night up by bringing it to a close with the immortal line 'At this time of year Keep it queer!'  I can think of no better way!

Review by Chrissie McGlinchey

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MENTAL DEFICIENCY

- Lavery's Bunker, Belfast. November 2009

Nursing a somewhat self inflicted sore head I made my way down to Lavery’s on a cold, wet and windy night.  To say I was cranky is an understatement and I had already made up my mind to give a less-than glowing review. (How unprofessional, I hear you say, but I’m just being honest!)

I had missed the support act but the main reason for my being there was minutes away from going onstage, so I made my way to the bar for a much-needed cure and found myself a seat close to the stage so that I wouldn’t miss any action!  Thinking that the band would need as many people as close as possible to gear them up was foolish on my part!

As a voice spoke from above (from the speakers) introducing each member I soon forgot my previous plan to slate them! Donned in masks (Bass Face- bass), Chinese hats and jackets (Xander Rockify- guitar), army get up (Sgt, Marmaduke- drums) and… some form of silver jacket and hat (Mr. Majestic- vocals) I was caught up in the excitement and enthusiasm of the crowd - this is surely not the norm for most local gigs!

Wireless guitars and mics allowed them to roam freely around the room.  Mr Majestic was an unstoppable force, dancing and gyrating enough to give Gary Glitter a run for his money! The band pride themselves on not conforming to the recent ‘too cool for school’ scene and focus primarily on enjoying the show and involving the audience.  This is a feat in itself as the style of music (Heavy Metal parodying everything!) does not usually lend itself well to fancy dress shows! I myself endured a lycra clad crotch in my face while being serenaded with a song titled ‘Yummy Mummy’ before the band passed a box of celery around the audience! (It’s negative calories you know!)

The highlight of the night (though to be honest it’s hard to pick just one, or to even convey the energetic atmosphere) was when the band played their most well-known song, ‘Get Her Home, Get Her Bucked’ (I shit you not!)  With Majestic’s dad announcing how proud he was (ha!) and an audience member with the lyrics on his t-shirt being spun like a… well, like a spinning top, it would be easy to think you were at a comedy night instead of a gig! Even the poor girl on the door didn’t know what to make of Majestic chasing her around the place at one point!

All in all I’ve never laughed so hard or so much, not only at a gig, but on any night out! It’s just unfortunate that the guys don’t play Belfast very often. (although they may be a little un-PC having introduced the previous song by saying “This nearly got us lynched when we played the rape crisis centre”)  I made my way home wagging my tail and promising that I would recommend them to everyone I know, those with a good sense of humour anyway, and here I am doing just that!

Review by Sarah McGlinchey

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PANAMA KINGS, ALICE KONA BAND

- Auntie Annies, Belfast.  Thursday 15 October 2009

pics by Carrie Davenport

An inconspicuous pile of leaflets had been placed at the merch stand for the Panama King's headline Mandela Hall show, simply stating that there would be a guestlist-only secret gig, in a mystery location and an email address to put your name down.  That was enough to start the rumour mill grinding! In the coming days Belfast was buzzing with hushed whispers of “it can't really be  totally guestlist” and “it'll probably be in Annies anyway,” but, the night before the secret show an email was circulated; on Thursday evening (yes, in Annies) the Panama Kings would play their warm-up gig before they ran off to England to begin their A-Z tour with Ash (from Aldershot to Zennor).

It was destined to be an early gig, since Auntie Annies Thursday club night Wired was meant to be on afterwards, however plans for Wired were swiftly disbanded after the entire room abandoned post-gig to follow the party to Team Fresh at Radar.  The supporting act, The Alice Kona Band, took to the stage at 9pm with the energy and passion that you would expect from a headlining gig in a huge venue.  In their final song 'Exile or Nothing' the stage was wrecked as their guitars were thrown to the floor and severely kicked into musical submission, despite the cries of terror from the more instrument-proud audience members. 

The Alice Kona Band are the very embodiment of a new brand of Belfast music, their sheer untempered vigour transcends the plague of pretension which sadly afflicts so many local bands nowadays.  After their phenomonal support slot I'm both terrified yet waiting with baited breath to see them perform their very own headline show hopefully in the near future.

The Panama Kings swiftly appeared to the rapturous applause of a room evidently dismayed at the prospect of not having another gig from the boys for a couple of months at least.  Although the room wasn't as packed and lively as an open Panama Kings show would generally achieve, the fantastic thing about the way in which this gig was promoted is that the audience was comprised entirely of genuine fans. So, the tension in the room was palpable as singer, Niall Kennedy, dutifully began the subdued opening few lines of 'Mobilise the Kids', and the band exploded purposefully into the rock carcophany that Belfast has come to adore. 

Later, the quieter tones of 'I Don't Want To Die' resounded wonderfully in the intimate setting, those who had been at the acoustic set as part of Rocktoberfest a few days before may fondly remember the duet with Steve Toner which showed a completely different side to the sound that the band can create.

Launching head first into 'Your Children Are Screaming' the audience finally began to pick up a little and ignore the fact that it was still reasonably early and no one was quite drunk enough for the ridiculous crowd antics we might be more used to seeing.  Looking around though, there were few people who were able to contain themselves from singing along in true anthem style, the “woah oh ohh” of 'Children' is infectious! 

Announcing that the next song was going to be for the old-school Panama Kings fans, the opening few notes of 'Mischief' created a buzz of excitement for the fans who don't get to hear the song live as often as it truly deserves, equally it impressed those who had never heard 'Mischief' live at all.  'Golden Recruit', the single that is blasting the Panama Kings into mainstream recognition, was awarded the biggest celebration of the night, the audience left with an unshakeable sense of pride and the feeling that tonight, we had been part of something a little bit special.

Review by Emma Louise Fisher

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 BLACKOUT presents ROCKTOBERFEST

- AUNTIE ANNIE'S, BELFAST. TUESDAY 13 OCTOBER

Three live bands, two acoustic sets and two DJ sets seemed a very tall order for a week night and inevitably led to an early start time resulting in my shamefully missing all but the last song of first act, We Were Like Men Who Dreamed.  I personally hold Belfast's public transport system and commuter traffic responsible.

The line-up for the night saw DJ sets from Not Squares and LaFaro start and finish the night respectively with acoustic sets from two of Belfast's most popular bands slotted between live performances from three up and coming acts.

After missing the first band, next up was an acoustic set from the usually loud and electrifying  Panama Kings.  Lead singer Niall Kennedy and  guitarist Stu Bell stepped up rather timidly and began a short, and if they are to be believed relatively unrehearsed, set featuring acoustic versions of their best-known tracks.  I was personally surprised and taken aback at how well the songs worked, having feared that they wouldn't translate well to an acoustic setting, but strong vocals accompanied by classic and slide guitars proved me very wrong, with Children and new song On My Side captivating the audience and showing a more mature and mellow side to the group's music.  

A special guest appearance from Queer Giraffes frontman Steve Toner to sing vocals on I Don't Want To Die rounded off a reserved but impressive set  with the guys looking somewhat relieved and bemused that they had successfully completed their set.

Girls Names were next on the bill but the set got off to quite a rocky start with technical difficulties leading to a twenty minute delay which clearly frustrated the two-piece and threatened to plague their entire set.  The group has grown and developed enormously, both in confidence and in sound since forming last year, and after their self-released EP, rumours of an album and new recordings will be much anticipated.   Despite sound issues with the vocals, Cathal Cully's surf guitar riffs and the steady drums, and their polished performance shows their potential and why they are garnering a loyal following amongst alternative music fans in the city and now further afield with a string of support slots for touring bands.

A Plastic Rose's Gerry Norman took to the stage for the second acoustic set of the night.  By now, the crowd was in full bar mode, and I feel that putting acoustic performers between full bands in the line-up was a mistake on the oganisers' part, as his banter and attempts at interaction with the crowd was lost to the drunken din of bar chat.  Despite hearing their tracks often, this was the first time I had seen A Plastic Rose perform live and felt quite frustrated at the crowd's general indifference. 

But if Gerry was put off at all, he hid it well, opening with his version of Frank Turner's The Real Damage in honour of his upcoming visit to Belfast the next night.  I have to admit it made me realise how much I enjoyed Turner's gig and made me regret missing his most recent appearance, but I was most impressed by Norman's very strong vocals, given Turner's own vocal range, and felt he gave a version equal to the original.

He continued the acoustic set with gusto and bravado, asking the audience to join in with their best sex noises during one song, and dedicating another to Jay Jay Okocha (no I don't get the link either as I missed the opening introduction to the song - damn bar chat!) and closing with my favourite APR song A Colour Blue, joined on stage by bandmate Ian McHugh on xylophone, for what in my humble opinion was the performance of the night.

Headline act was upcoming instrumental group The Cities We Captured.  The three-piece took to the stage with an air of anticipation in the audience - this was to be the main event and the crowd was ready.  There are now a number of instrumental bands in the NI music scene and newer bands will inevitably draw comparisons to the first and most well-known, as mutterings on the night showed. 

Two songs in and the lead guitarist took his experiment a step too far, dropping his guitar on the floor and continuing to play it while there.  This resulted in said guitar's sound failing, and the next ten minutes became a drum and bass show with a difference, until the guitarist sorted out the guitar and the set could continue.  

Perhaps it is stating the obvious but in future, my advice would be if you plan to abuse your equipment , although not very rock and roll, wait until the end of the gig rather than the beginning.  But the band's potential was definitely evident and despite a rawer and less developed sound than some other instrumentalists around, their stage presence and enthusiasm definitely make them one to watch for the future.

Such a massive line-up saw LaFaro step up to Dj for a grand total of one and a half songs before they were unceremoniously cut off, not even in their prime, by the sound engineer and house lights. 

I think that was the only failing of what was otherwise a great night - that the line-up was slightly too ambitious , and slightly too-packed for a weeknight, with tight turn over times leaving little room for delays.  The running order was also a bit of a mish-mash with the acoustic acts slotted between the live acts.  The main point I would take from the night however is that it shows that you really do struggle to fit all the bands out there into a bill, rather than having to search long and hard for performers who can draw a crowd, and surely being spoilt for choice can only be a good thing.

Review by Chrissie McGlinchey

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ANIMAL DISCO 4TH BIRTHDAY

-LIMELIGHT, BELFAST. SATURDAY 22 AUGUST

Club nights come and go in this city, some more fleeting than others, but the one they call Animal Disco has quickly and smartly established itself as a must-attend for Belfast's discerning local music fans.  Saturday saw them pulling out all the stops for their 1st birthday celebrations with a gargantuan six-hour line-up.

Kicking off proceedings and keeping the momentum flowing during the changeovers, the guys from Ed Zealous outputed a tasteful & informed selection of varied tuneage from the lofty heights of the DJ booth.

Some time ago, sorrow at the suspension of the mighty We Are Knives turned to cautious optimism at the news that Hornby & Craig would be tangentially continuing the tap-a-thon they began under the moniker Continuous Battle Of Order.  First up tonight, they released a fractured sonic barrage, peppered with cryptic shouted mottos & seismically-shifting time signatures.  Ultimately enlightening but not for the faint-hearted.

Next up was the spiky angular guitar pop of Yes Cadets.  Opening with the wistful disco of 'Canada', they powered through a charged set of synth-tinged numbers including anti-hipster call-to-arms 'Fashionista Art Party'. 

The first of a couple of bands from Dublin playing tonight, Funeral Suits combined sparse but terse rhythms with plaintive insistant vocals.  Particularly of note were 'Start Of The End', awash with flanged guitar and blanket organ chords, and the simple but beautiful melodic phrasing of 'Acid Happy'. 

Making giant strides recently are A Plastic Rose, with plays on Jo Whiley's show and a slot on the BBC Introducing stage at Leeds/Reading.  Frontman Gerry Norman was his usual ebullient self, playfully cajoling the audience between belting out powerful slices of self-confessed 'melodromatic popular song'. 
Capping their set with the tumultuous title-track from their last EP 'Kids Don't Behave Like This', a mini-epic which recalls the force of Bends-era Radiohead, you get the feeling nothing short of a brick wall is going to stop these lads.

The Flaws are also up from Dublin, providing acceptable enough broody guitar pop, but fail to engage with the audience and exude a copycat Killers vibe throughout.  Their debut album 'Achieving Vagueness' is out now, but I can't help declaring mission accomplished.

Not Squares are an odd yet decidedly exciting spectacle live.  Two basses, one drummer, no guitars, and an array of synth patchcordery snakes across the stage. They immediately launch into what they do, a frantic polyrhythmed blend of urgent beats (ably provided by drummer Keith Winter who was going for it like the T-1000 on speed) and chant-like vocals, nailing you squarely in the forebrain with their insistance.  Belfast's seen nothing like them.

Everyone it seems is looking forward to the headlining band/collective/commune/ragtag Amish-looking bunch The Lowly Knights.  The majority of songs taken from their debut 'Rifles EP', each one spills sunshine off the stage when they reach their inevitable soaring six-part vocal harmonies.  Life-affirming and yet somewhat comfortingly familiar, it's no surprise they've quickly become one of the main draws in NI music.

With AU's Jonny Tiernan closing the night off with excellent tunes both recent & classic, not even the pelting rain outside can put a dampener on such a fantastic evening. 

Here's to another year of Animal Disco!

 Review by Stevie Mac

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XPOSURE ft POCKET PROMISE, ONCE BEFORE TAKE OFF, ALICE KONA BAND, DEAD VITO

- AUNTIE ANNIE'S, BELFAST WEDNESDAY 29 JULY

This month’s Xposure in Auntie Annie’s was as much about the crowd as the bands on stage. With what appeared to be an average age of 18, there was an air of school disco when first band Dead Vito took to the stage. With a raw sound and definite Undertones-esque feel to the band, maybe it was their baby faced drummer?, (see what I mean about school disco?) their set became progressively more aggressive and frenetic culminating in the highlight ‘She’s Beautiful but Fakes It.’

Although it was a decidedly short time onstage for the band, I can’t help feeling it was probably for the best, if only to spare lead singer Matt Jackson’s vocal chords which were taking an increasing bashing as he rasped through - at one stage almost shouting through the mic.

Despite this lack of vocal depth in parts, and an unconvincing Biffy Clyro cover which fleetingly grabbed the attention of the crowd once again, the band did have a diamond in the dirt, ‘This Could Be the Making of You.’ Grimy, dark and energetic it’s Northern Ireland punk doing what it does best and channels early Therapy?

Next up was the Alice Kona Band who made a far better impression on the crowd. With a bare chested guitarist with a habit of breaking guitars (two were casualties of his cavorting on stage that night), they were a catalyst to the excitable crowd.

Their sound is probably best described as a tribal Jane’s Addiction meets The White Stripes with a bit of Guns n Roses thrown in for good measure with bandanas and tight leather trousers Axl would have been proud of.

‘Exile or Nothing,’ showed a more playful side to the band’s sound which easily suits them best. Although their onstage antics were slightly contrived (small tip: falling about on each other at the end of the set is only cool if you don’t have to come back on and clean up after yourself for the next band), they all had an infectious rock star confidence on stage. ‘Acheron,’ was one of the best songs played that night and a firm favourite with the crowd.

Omagh-based Once Before Take Off were third on and had a hard act to follow. The band themselves looked fairly unassuming, with none of the posturing of their predecessors. This is probably what made their opening cover of Voodoo People by The Prodigy so fantastic. It was a great way to start their set and instantly engaged the whole room keeping the crowd’s energy up.

The covers didn’t stop there with Coldplay’s ‘God Put a Smile on your Face,’ and a Biffy Clyro number (incidentally the same one Dead Vito had played previously) dispersed through what was unfortunately some forgettable original material.

The band though were clearly having a ball on stage and as they relaxed into the set and interacted with the crowd, their tightness as a band was clear to see. It was however, their great cover versions rather than their own songs which stood out.

Last on were Pocket Promise playing songs from their soon to be released debut album ‘I’ve Been Here Ages.’ This performance by the band was in between what I hear was a stand out performance at Glasgowbury and an appearance at Mitchelstown’s Indie-pendence festival this weekend.

The opening, ‘talkovertalking,’ showed them in fine form. With recent comparisons to Radiohead and an undeniable knack for innovative melodies, they stood out as by far the most original and professional sounding band on stage that night and ripe for the big time with radio friendly tunes.

By this stage however, the crowd were lacklustre. Although some of the Dungannon band’s more up-tempo tracks such as previous single release ‘I Burnt the Roller Disco’ went down well, it was sporadic sparks in a crowd that seemed dead. The thoughtful and intelligent sound of more low key songs was simply lost on the fading audience, a fact even the band couldn’t have failed to notice.

If nothing else the night was a good way for them to get in some gig practice before the album launch next week where the crowd will be more suited to Pocket Promise’s sound and more appreciative of one of the finest Northern Irish bands around at the minute.

My advice? Go check them out in the Menagerie next week.

Review by Louise Quinn

GLASGOWBURY FESTIVAL

- EAGLE'S ROCK SATURDAY 25 JULY

pic by Richard Crothers

Well it was emotional. 100 miles, 48 bands, 30 midgie bites, 8 Strongbow, 6 Coronas, 5 Budweisers, 4? Pear cider, and 2 hours of sleep.  There was sunshine and rain, and some damn good music.

It was our first time at the festival and it really was an eye-opening experience. Having got the bus up to the Glasgowbury site and passed hundreds of tents in the campsite, we then arrived to find people standing with signs asking for spare tickets. Then there was the mission to find space for our wee tent among those who had been better prepared and arrive the night before.

First band we caught a glimpse of was The Stetz in the G Sessions tent. I’ve heard bits and bobs of the band before (see our Downloads page for a FREE track), but seeing them live gave the songs an added dimension, and played some really catchy tunes.

Next up, we went to the main stage to catch the second half of the Jane Bradfords, which we have on good authority was most impressive. We even managed to catch the guest appearance from Ed Zealous' Andrew Wilson. 

After grabbing a bite to eat at one of several eateries on site it's back to the main stage to see the increasingly popular Cashier No.9.  It’s been a great year so far for Danny and the lads and we’re really looking forward to their upcoming album.  Highlights include fan favourite When Jackie Shone and 42 West Avenue, that both got the growing crowd singing along.

Like all festivals the line-up was so extensive that clashes were inevitable and some very hard decisions had to be made.  LaFaro looked like the cat that got the cream.. and then had a few Coronas – they really rocked. I was a bit unsure of how they would be on the huge main stage but Jonny and the guys made it look easy, managing to turn it to eleven and keep it there, and even squeezing in a few inappropriate jokes for good measure.

Portadown's In Case of Fire are still riding on the crest of a wave at present with the last year seeing support slots with The Answer and the Manics in the Ulster Hall as well as the release of debut album Align The Planets and regular radio play and video appearances on MTV2.  Wearing red shirts they picked up where LaFaro left off and kept the crowd rocking.

General Fiasco were the surprise band of the festival. A lot of people write them off because of their legions of teenage girl fans. There might also be the notion that it's because of this and their babyfaced good looks that they are one of the local bands that you might catch on MTV2 but they took to the stage and were incredibly polite and seemed genuinely happy to be playing. One song in, and from the back of field we were drawn down to the front, singing along to the likes of Something Sometime and Rebel Get By at the tops of our voices with the teenage girls.

ASIWYFA have the problem of always being epic. It is definitely a good problem to have but it means that everyone expects so much from them. For me they will probably never top that night in the Mandela Hall but they definitely gave it a fair go at Glasgowbury. As darkness suddenly descended on the Derry hills (granted we were quite merry at this stage) the scene was perfectly set for a fantastic headlining performance from the North Coast boyos. They took the stage to the stylings of the National's Start a War and never was a more apt song chosen.  The guys never let up for a second with their searing sound. A particular treat was a few songs from their upcoming EP, and on first listen they sound every bit as good as the album.

If there was one thing that kinda gets on Tristan's tits a bit it’s the love-in at the end… "I’m not a fan. Maybe I’m being a bit harsh but it’s not a West End musical." The rest of us didn't seem to mind though – joining the motley choir who had assembled behind the guys on stage with  the chorus echoing out across Eagle's Rock. ASIWYFA got the final bow, with the ear crushing tracks from their self-titled album like Set Guitars to Kill and Eat the City Eat It Whole leaving the crowd starving for more - Fighting With Wire?  Were they meant to play??

Paddy and all the guys at Glasgowbury should be well-chuffed.  A well organised and smoothly run weekend, with relatively few problems (there's no accounting for the weather especially in festival/monsoon season) and a great atmosphere it's easy to see why it sold out.  In the car trip up there might have been a few cries of “what the fuck is wrong with the Ulster Hall?” and “These bands play every week in Belfast, so why are we bothering with this camping shite?” from the festival virgins among us but there was no such talk on the way home, and it wasn’t because of the hangovers.

The weekend was confirmation that our local scene is very very special at the moment. The top bands showed why they've started to break through playing the major festivals across Europe and not looking out of place pitched against the 'big' international players. They weren’t just playing to a load of mates in the Spring and Airbrake, they were playing to a proper festival crowd.

The venue may be small but the festival was massive and it was fucking awesome. Same time, same place next year?

Review by Tristan Crowe & Chrissie McGlinchey

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COLENSO PARADE, A PLASTIC ROSE, FURLO

- STIFF KITTEN FRIDAY 15 MAY

Pop fact: both All Saints and Bruce’s E Street Band are named after streets just like Omagh’s very own Colenso Parade, who artistically borrow their name from a street in leafy Stranmillis in south Belfast.

Colenso Parade though are of course a different proposition altogether to these icons - don’t forget Never Ever was a fantastic song - but if they get the old street name = success equation right they’ll be laughing.

Headlining tonight at the Stiff Kitten, which despite being generally known for its scenester kids and superstar DJs (insert your own ‘here we go’ as you please), is fast establishing itself as one of the better live venues in Belfast for seeing top-notch local talent with a wet Friday night in May proving no exception.

The jangly indie pop upstarts headline tonight in a half full venue, but before that have rounded up some of their mates as support.

First on, at an indecently early time, were Limavady quartet Furlo-who despite having a slightly dubious name which just reminds me of them damn Furby toys- actually do jerky indie rock rather well.

Coming across like a less intelligent Bloc Party with a slightly whinier Fergal Sharkey on vocals, standouts include Tell Computer which recalls The Cribs earlier stuff and proves that talent really does lie beyond the main Belfast scene in the provincial towns.  However I’m still none the wiser as to what a furlo actually is: answers on a postcard please.

A Plastic Rose are next to swagger on, and are reliable as always, with ferocious drumming and heartfelt guitar licks swamping their set. Sun’s a Shadow is a particular highlight, practically having reached anthem status these days amongst their loyal fanbase, and sets the scene nicely for headliners.

Arriving on stage CP come across as a more gangly and awkward Franz Ferdinand- in sharp matching suits- yet they still look like polite boys in a rustic country kind of way -your mammy would be impressed.
(I could well be proved wrong though; perchance they are in reality snorting cocaine off the back of a prostitute in a Holiday Inn surrounded by whiskey.)

CP are all chiming guitars and winsome vocals with sun-kissed Byrds style melodies (but not in a crap Thrills-esque way) with adolescent lyrics about girls and drinking easily related to by the teen/ 20 somethings in the audience - “I’m a poet when I’m drunk” anyone?
The band declare their music as “a clash of old and modern classics” and on this evidence they are Ronseal, channelling 60s Beatles pop in a Noughties post-Strokes indie bubble in pretty effortless fashion.

Set highlights include Not For Diamonds, a gem of indie pop which is Libertines gone folk- minus the smack- and Shine a Light, so annoyingly catchy it should carry a warning label.

Live, the band sound fiercer than they do on record, with their brand of indie pop sounding more beefed up and raw, perhaps testament to the good sound at Stiff Kitten.

Despite lacking the effortless coolness of the Panama Kings and the everyman (or every teenage girl) appeal of General Fiasco, the charm with CP is that they don’t display any pretensions.  The matchy suits, though it may attempt it, simply gives them more of an ‘aww-factor’ and such bumbling sweetness endears the quartet to the audience, complimenting their tuneful harmonising perfectly.

Unfortunately at times this lapses into indie by numbers, Smile in particular sounding like a second rate Fratellis in their quieter moments (FYI a first rate ain’t even good), but there is more than enough charm and youthful abandon it seems for the lads to carve out a niche with a bit more work and maturity.

They sure as hell make an effort, as I was accosted by mates handing out CP badges and managers scurrying around with mailing lists galore, all crucial ingredients to building a fanbase which other contemporaries lack.

Whilst not exactly setting the world alight, if nothing else attending a Colenso Parade gig means you are almost certainly guaranteed to leave with a smile on your face, which isn’t bad for under an hour’s work.
Less annoying than the Kooks, more rational than the Libertines and prettier than Franz Ferdinand- Colenso Parade could well have a bright future in indie pop land.



 Review by Claire McLoughlin
 

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A CAMP
- SPRING & AIRBRAKE, THURSDAY 30 APRIL

For a band with only two full-length releases under their belts, A Camp have been making some serious waves.  The band is made up of Nina Persson from The Cardigan's, her husband, bassist Nathan Larson, and ex-Atomic Swing guitarist Niclas Frisk.

The Swedish trio also operate something of a revolving door policy which makes for an impressive reading list of contributors.  Joan Wasser aka Joan As Policewoman and Mark Linkous (Sparklehorse) are just two of the names who offer their musical talents on the record.  It's enough to make most bands choke.
Considering these elements then, it comes as no surprise that the critics have lauded the band's quirky dream-pop and informed lyricism, a talent Persson herself possesses.

In fact, A Camp has been something of a creative outlet for The Cardigan's front woman.  Feeling hemmed in by her former band's commercial success and the pressures attached, Persson threw herself into A Camp to give herself some breathing space and to grow as a songwriter.

Their latest offering 'Colonia', is clear evidence of her ability.  The album is inspired by the trio's adopted country of America, remarking on the cultural hegemony it has assumed over its foreign counterparts.  Persson uses magical realism and surrealism as devices to broach the concept, which further proves just how far she's come from 'Love Fool'.

So it is with deliberate irony that the band has undertaken the task to critique colonial ideology by colonising new fans for themselves.  For once, Belfast is no exception to their tour schedule and tonight, A Camp has chosen a supporting cast that compliment their own distinct sound and set the stage for the headliners.

First to perform is Brooklyn-based songstress Leona Naess.  She comes to the floor carrying an acoustic guitar with her hair tied back, her face bare and wearing a plain t-shirt and trousers.

This physical description, although not necessary, seems important when commenting on her as a solo singer.  The music, like her, is stripped back to its fundamentals, with a simple accompaniment giving her the ability to flex her vocal talent.  Her voice is strong, distinct and deeply felt and the effects are noticeable on the crowd who are hushed to silence.

Her lyrics are tinged in heartache and loss but aren’t depressing, the arrangements are light and the vocals have a summer feel, giving the songs added depth and paradox.  Her set is relatively short but she is relaxed and confident throughout. In short, she is a joy to watch.

Kristofer Astrom is next to grace us with his presence on stage and seems promising if Leona is anything to go by. Astrom, like A Camp, is Swedish and has a long discography to his name, focusing mostly on Americana and alt-country as a genre.  He's also very good-looking but sadly, as his set proves, lacking.

It proves hard to keep focused on his performance with his gloomy, un-insightful and frankly repetitive lyrics and the very clear resemblance he is trying to make to other more successful faces of modern Americana.  Harsh you may think but Astrom just sounds like a bad parody of Ryan Adams (no offence meant to Adams of course) and his self-obsessed, self-hating lyrics have been tried and tested and bring nothing original to the fore.  Altogether, it's very disappointing.

There is one highlight however, being the appearance of the Canadian singer, Emm Gryner.  She joins Astrom on stage and instantly injects the songs with personality and more importantly life. Their vocals work well but without her, Astrom would be left floundering.

The warm-up act may have been something of a failure but it does remind the audience that there is better to come so the atmosphere instantly brightens as soon as Astrom has retired to the dressing-room.  The crowd begin to grow and creep slowly but surely towards the stage in that amusing self-conscious way most Belfast ones are guilty of.

Before the band appear, it's hard not to comment on the set design.  The stage looks like a dress shop from the 1970's with changing screens at the back, accessorised with ornate chinese lanterns.  Every surface is covered with dark lace and doilies and feathers drape the mic stand.  Glittery letters spelling out A CAMP are attached to the keyboard.  Everything is in its place.

All of a sudden, a plume of smoke descends upon the hapless crowd below and birdsong is played to set the scene.  The lanterns start to glow and the room is expectant. 

When Nina and her cohorts finally step out, the crowd explode.  Persson is stunning in a silk black jumpsuit, feathers in her hair and a glass of wine in her hand as a finishing touch.  They all greet the crowd warmly and then the music begins with no time to spare.

Colonia's opener, "The Crowning", is first to be played, a baroque stormer, which sets the mood with the lyrics; 'We're gonna party like it's 1699".  Odd you may think but the song is humorous yet sincere and is a great way of loosening up any crowd.

A Camp are joined by Gryner who provides backing vocals and keyboard and even old favourite Astrom makes an appearance to vocal on the song, "Golden Teeth and Silver Medals", getting up close and personal with Persson.  Surprisingly it works well and the song becomes a highlight of the night.

In fact, there are a lot of highlights.  All the songs are brilliantly executed with Nina's voice as clear as a bell throughout.  The only hitch is that the band keep misplacing the setlist which can't be counted as a criticism really. The band also play a generous amount of songs from both albums, to please the newly colonised and the old.  Personal favourites, are however, "I Can Buy You", an older song of the band with Persson showing off her harmonica skills and "Chinatown", a dreamy ethereal kind of song looking at the grimy underbelly of America.

After two encores and an hour and half long set, the crowd aren't ready to quit.  A Camp have quite clearly blown our proverbial socks off and they seem to have had fun doing it, even agreeing to a meet and greet after the performance. It feels like their spoiling us.  Honestly, if we asked the consensus tonight I think all would feel that colonisation, in this instance, is a complete success.

Review by Rebski Shields

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SMOKING TONGUE

−  LAVERY'S BUNKER, BELFAST  03/05/09

Sound check over, lights suitably dimmed, final pints hastily necked and Lisburn’s Smoking Tongue crack into their first tune, aptly titled, ‘Hello-Hello’. Thankfully there’s no trace of any Manc’ or paedophilic influences – a Gary Glitter reference couldn’t be avoided, sorry - as the band grab the attention of all ears in a reasonably full Bunker. Rhythmic guitars, funky and melodic basslines, scattered drumbeats and soaring choruses typify both this song and the Tongue in general.

‘Too Many Times’ fills the big bootprints of the opening tune, with this band’s secret weapon coming to the fore for the first time in the set. Graham ‘Duck’ Diack, flop-haired, lead guitarist, truly is a gem of a player. Think Nick Cave with a more eclectic record collection, less mental health problems, longer fingers and a broader palette of colours.

As with many unsigned bands, the need to do a cover just to keep the crowd’s attention can and often does backfire. Smoking Tongue’s rendition of Dylan’s/Hendrix’s ‘All Along The Watchtower’ is too good for its own good. The form has been played around with a little, the blisters of Hendrix’s fingers are just as achingly brilliant, the desperation of Dylan’s song remains intact and to hear it played by a group of unknowns is a voyeur’s filthy pleasure. But where do the band go after such a showstopper?

But continue they do. And to their credit, it’s obvious to all with ears that the Tongue ripped up the Oasis chord book many years ago. Complex chords and intricate songs structures don’t get in the way of out-and-out rocking and ‘Here Today’ stands testament to their love and faith in old school, two-fingers-in the-air rawk. This song is so punk, I doubt the Pistols would have the balls to cover it.

If ‘Here Today’ is a toughened, old rib-eye steak of a song, then ‘Red and Yellow Surprise’ is anaemic, tenderised veal. The opening chords are to die for, the vocal melody and supporting bass-line, beautifully soothing, and for three soft minutes, all you care about are those three soft minutes.

I don’t know where or when this band will be playing again: they’re not much into self promotion; but if you’re free, have the cover price and want to hear an accomplished, intelligent and above all rocking band, get yourself some Tongue.

Review by Conor O'Neill

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NEW MOON SHOWCASE - POCKET BILLIARDS, BIRDS OF PARADISE, KOKO AND THE BOOMTOWNCATS, DAVID ALEXANDER 

-SPRING & AIRBRAKE, BELFAST 02/05/09 

The New Moon Showcase, enjoying a residency in the Spring and Airbrake, away from its usual home of Belfast's Crescent Arts Centre is a truly unique night out. Held on the first Saturday of every month, it provides a platform for all kinds of local talent and always guarantees the best of evenings!

Sadly this reviewer did not see the first act, singer songwriter David Alexander...though was informed by those around her that he set the tone perfectly for the start of this months showcase!

Next to take to the stage were Koko and The Boomtown Cats, a fabulously fun act that can be compared to no other in the city at the minute. Arriving on stage in haze of pink wigs, glitter and feather boas, the boys and girls of Koko launched into a set of seven songs, all of them covers and all of them accompanied by the kind of good-time choreography that should have had the audience up and dancing! Sadly though, the crowd seemed a little shy...though this did not deter those on stage from looking like they were having a blast. 

It is a real joy to see a band have a good time and Koko and The Boomtown Cats never disappoint in that respect. With an all-star line up of band members including past and present members of Katie and The Carnival, N.I. Soul Troop and The Benjamins the talent in the collective is abundant and made for a more than entertaining performance.

The Bit in the Middle brought the Birds of Paradise to the audiences attention. This section of The New Moon Showcase is where the night truly comes into its own. No other evening can promise the variety of spectacle that this one can and tonight was no exception to this. Belfast at this time was playing host to the Festival of Fools and so circus performers Anita and Kelsy took to the floor with their trampoline and dazzled the audience. The hearty applause that followed the girls performance was well deserved!

The final act to take to the stage at the Spring and Airbrake were ska act Pocket Billiards. Fitting with the tone set by Koko and The Boomtown Cats, the Pocket Billiards played loving tribute to their favourite music. Their sound is huge, and pulled the audience up out of their seats very quickly and onto the dancefloor. We were lucky to be treated to another group of extremely talented musicians who took the opportunity to play a new song or two. Their set thrilled the audience and reckless dancing ensued....

The New Moon Showcase is a brilliant night out, consistently good fun and entertaining. A huge part if this is the almost family atmosphere that welcomes those who come through the doors, organiser Mike Maloney spends time thanking attendants throughout the night, his gratitude evident and heartwarming.

Review by Claire McCallion

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 UITA: SEVEN SUMMITS, THE CAHIER COLLECTION, THE BLINDIES

−  AUNTIE ANNIE'S, BELFAST  14/04/09

Up In The Attic is the hugely successful brainchild of Bruised Fruit Promotions, showcasing local talent every second Tuesday in Auntie Annies.  UITA is definitely a must for anyone who wants to keep up with the new movers and shakers in the Belfast music scene.  This week saw Seven Summits headlining, with support from The Cahier Collection and The Blindies.

First up The Blindies take to the stage, and despite singer Josh drawing a complete blank as to the lyrics of the opening song, the band take it on the chin and battle through the remainder of the set relatively unscathed. 

The standout element of the performance is undoubtedly the infectious basslines which seem to erupt through each song.  In particular 'Monday Mourning' has the potential to be the band's connection to the mainstream.  Just in case anyone dared to drift off they finish with the absolutely blasting introduction of 'Funny Guy', with distinct grungy undertones coupled with a dirty melody ending an excellent performance brilliantly. 

The band seem to enjoy the set and this positivity radiates into the audience. The Blindies definitely have the potential and confidence to increase their following in the coming months.

The second support act is The Cahier Collection, and having heard only wonderful things about them, I stood waiting to have my exceptionally high expectations crushed.  Luckily, this wasn’t the case at all.

The Cahier Collection are a local four-piece, who've been creating a stir with their own unique brand of guitar based, grown-up, alt-indie, since the release of their Bad Blood EP at the beginning of the year. Even their name has been sparking debate, but I am reliably informed the pronunciation of Cahier is more akin to the Die Hard quote than anything else.

Hearing Bad Blood* live is absolutely phenomonal, the powerfully upbeat guitar riff contrasting stunningly against the lyrics.  Neal's vocals compliment each song perfectly, alternating between a lyrical focus and a pure gritty intonation reminiscint of a bygone melodic punk era.

'Seedy Little Town' is a grinding display of The Cahier Collection's talent, and performed live serves as an epic reminder of the high standards the band sets for itself.  Truly it has been a while since I have been so taken aback by a performance.  The Cahier Collection deserve to be celebrated as one of the emerging greats of the Northern Irish music scene at the minute.

Finally the headliners come out to the growing crowd which has accumulated since the start of the gig.  Seven Summits are a five-piece band based in Belfast who are currently putting together their debut album.  Instantly recognisable, Rory Nellis's vocals are pristinely clear, Katie (of Katie and the Carnival) sings backing vocals, harmonising beautifully with Rory, with the pair exceptionally well-suited vocally. 

When 'What’s With All The Lights' kicks in with its pounding guitar rhythm Seven Summits really show themselves to be an excellently moulded outfit, meshing perfectly together and the clean sound they create is a testament to that.  The highlight of the set is their hugely popular song Ben,* its haunting bass introduction resounding throughout the song leaving it very squarely stuck in your head hours later, a fantastic track to breach into a bigger audience. 

Another excellent night up in the Attic, the line-up is a wonderful selection of the range of talents Belfast has to offer.  It possibly would have been a more natural progression musically to have Cahier Collection headlining, as their energy certainly would have ended the night on an unbelievable crescendo, but Seven Summits are definitely a band to follow for the future.

Review by Emma-Louise Fisher

(* Get FREE tracks from SEVEN SUMMITS and THE CAHIER COLLECTION on our Downloads page)

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POCKET PROMISE SINGLE LAUNCH

- AUNTIE ANNIE'S, BELFAST 03/04/09

Fresh from co-hosting Monday night’s Across the Line on Radio Ulster, the Pocket Promise boys took to the stage in Auntie’s Annies on Friday, for a gig to mark the launch of their new single ‘I Burnt the Roller Disco.’

It seems odd that the Dungannon quartet are only releasing they’re debut single now. A formidable live act, they have been around the music scene for years, establishing a solid fan base and acclaim from many circles, for a sound that has been described as somewhere between Elbow and The National.

This audience member however had yet to see the four live on stage and, based on my listening to their single prior to the gig, was eager to see if the rest of their set was as catchy.

I was not disappointed. From the opening of ‘talkovertalking’ it’s clear Pocket Promise favour melody over everything else, creating hooks and guitar rifts which stick in the head as all good pop songs should.

Although ‘The Sum of the Parts’ saw the band pursue a more edgy side to their sound which was not as entirely convincing as their other songs on stage that night, Pocket Promise had the crowd eating out of the palm of their hand, singing along to pounding tracks such as ‘Facing Down.’

The single itself was easily the highlight. All grinding guitars and fuzzy vocals it was Soulwax circa ‘Much against Everyone’s Advice,’ meets The Frames ‘For the Birds.’

Indeed the influence of Glen Hansard and co on the band was clear throughout most of their set with a melancholy running through their songs providing a neat contrast to the pop-like melodies as shown in ‘If Not, the Tide Will Change.’

Lead singer Fee, like Hansard, puts an enthusiasm and passion into his performance that sees a connection with the lyrics translate to the crowd easily. It was refreshing to see a local front man on stage so completely void of self consciousness but earnest enough in his performance for it to not come across as arrogance.

Joe Laverty’s percussion provided more than a solid back bone to the set. It grounded all the songs and punched home to the crowd the repertoire of what is clearly a tight and accomplished set of musicians, who have found their niche.

The only complaint I have is that the set was too short but if the crowd reaction to their debut release is anything to go by, I’m sure we’ll be hearing a lot more in the future.

Review by Louise Quinn

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'HOMEPLUS' CHARITY GIG: KILLING SPREE, LAFARO, POCKET BILLIARDS, ABLESPACER, JONNY BLACK(ACOUSTIC)

- Empire Music Hall 26/3/09

Not usually being the most punctual of people, I made my way to the Empire Music Hall for the doors opening at 8pm.  Sound checks were running late but listening to the end of Ablespacer gave me a taste of what the night had to offer.  It wasn’t long before Jonny Black (of La Faro) made his way on to the stage to begin with an acoustic set.  Unfazed by the lack of substantial crowd he said a simple hello and started into a series of country and folk songs, much to my surprise and enjoyment. 

Knowing LaFaro’s music it was a pleasant surprise to see the diversity of their lead singer’s voice and musical interest.  His entire presence onstage seemed effortless as he laughed and joked with the crowd, asking the audience for any jokes or stories, mentioning his old school tuning methods (not using a digital tuner) and slagging his own songs, declaring his new one “shite”.

Ablespacer were next, and having caught the end of their sound check I had an idea of what to expect, or so I thought.  The snippet of a song I had heard was nothing to what these guys are capable of.  Clearly comfortable onstage the quality of their sound was great.  Robin Regan’s voice comes from nowhere and, in my opinion, bears striking similarities to that of Matthew Bellamy of Muse.

As the hall began to fill up, the audience watched intently as the band played song after song.  With five acts playing the gig there was little time for chit chat between songs.  Towards the end of their set Richard (drums) and John (bass) got the chance to freestyle when Robin’s guitar string broke.  They took the opportunity to jazz it up and the audience seemed to love it, but it seems the bands in Belfast are just too damn supportive of each other and before we knew it Johnny Black had given Robin a guitar to finish the set with.

Pocket Billiards, were third on the line-up and are a band I hadn’t heard much of to be honest.  Watching the nine piece ready themselves I was surprised at how they all managed to fit, what with two saxophones and a trumpet, but the size of the band and the variety of instruments seemed to create a refreshed buzz with the audience.  They kicked off with ‘Dirty Money’, an upbeat song with great energy that proved infectious.  The group’s front man was clearly enjoying himself as he bounced around the stage to the mix of ska/punk.  After thanking Darren, a last minute stand in on drums, they went on to express their excitement at the return of Killing Spree, much like that of Michael Jackson and Spandau Ballet! The enthusiasm and fun attitude of the band was unmissable and I particularly like the introduction to their song ‘Spide‘, with a shout out to all lovers of Scooter!

LaFaro came next and the hall couldn’t have looked more different for Johnny Black since his performance only two hours earlier; the crowd was piled in right to the front of the stage.  Again, there was an immediate sense of stage presence as the band had no  intro but started straight into ‘Climate’.  ‘Hinton’ was the third song they played and the highlight of my night so far, and it seemed the crowd agreed; I watched in disbelief as what we can only call a mature lady under the influence scrambled towards the stage to touch Jonny Black’s face- they’ve clearly become Belfast’s own heartthrobs!  The band oozed confidence as they bantered with the crowd and were clearly up for a laugh as they told some incredibly un-PC jokes (not mentioning the subjects… but Jade Goody fans would not be impressed!)

And so to the main event; the return of Killing Spree saw them open with ‘You Can’t Kick a Good Dog When You’re Dead’.  Clearly this is what the crowd had been waiting for.  It seems that even the most experienced bands can fall victim to mishaps, with guitar straps coming undone, but not to worry- Jonny Black to the rescue again! It seems he wasn’t needed though, as they continued playing regardless, with the guitarist leaning the guitar on his knee, showing his skill and professionalism. 

The older more mature woman from earlier reappeared during the set, and by that I mean crawled across the stage ‘seductively’ (or attempting to anyway) as the band continued to play.  Once she’d vacated the stage I could focus my attention back on the band.  The last song ‘Not your choice’ was my favourite of theirs and from the crowd reaction, everyone was satisfied with the one-night-only gig.

As all the bands said, the night was organised for a great cause and proved a great success with everyone, including the organisers, enjoying themselves.  This includes the notorious Dave, who I’m assuming was the less than sober gentleman onstage wearing nothing but a smile at the end of the night!

Review by Sarah McGlinchey

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DARK HORSE METAL CLUB: NIYAH SKY, STONE CROW, OF ONE BLOOD

- LAVERY'S BUNKER, BELFAST 25/3/09

Not being one for metal music, but usually willing to try anything once, I admit I was intrigued when I was invited to the launch of a new metal night in Belfast.  Dark Horse Metal Club sees three metal bands playing in one venue on what is otherwise a quiet Wednesday night in Belfast. 

It’s always difficult to be an opening act but to open a metal night at 8 o’clock on a Wednesday adds a new dimension in difficulty ratings.  Dundalk band Of One Blood rise formidably to the challenge setting the night’s tone perfectly, opening with metal anthem Iron Maiden’s The Trooper.  Head banging in perfect sequence shows that despite this being the band’s second performance they’re already in perfect sync.

Cover versions like Megadeth’s Hangar 18 are alternated with the band’s own songs and sees the band take to the floor for some audience participation.  The band gives a high-energy performance with the lead singer whipping the crowd into frenzy.  They close the set with Pantera’s Revolution is my Name, a cover with commanding guitar solos, strong vocals and even a cowbell bringing a loud and lively set to a close.  I’m tired just watching them!

The second band was called on at short notice after headliners Ozzmium were whisked off on tour.  Stone Crow are a four piece hailing from Dungiven and as well as having less hair than the last band theirs is a sound more classic rock than heavy metal. 

Dark guitar riffs, soaring solos and strong vocals all combine to make them the best act of the night for me.  Their sound is accessible without being too mainstream and, barely pausing for breath let alone partaking in crowd banter, they flow through their set with slow and reflective rock shifting up to fifth gear in the blink of an eye.

Highlights include Blackwater, a slow starter that kicks into full on heavy rock with relentless riffs and incredible solos on guitar, and new track Four Hands, which closes the set with its pounding bass line and drum and guitar solos which would rate under expert difficulty rating in Guitar Hero. 

Belfast band Niyah Sky headline the night and as they begin their set it’s clear that the three bands tonight illustrate perfectly the variety of styles out there.  Theirs is a much slower style of funk metal with a funky bass-line accompanying the heavy rock guitar and drums, allowing the audience to catch its breath.  Slow and steady bass gives a funked up rock sound in songs like Rotten and Prove Your Point. 

The set is full of slower and more reflective numbers than the other two bands alongside heavy drums and bass in rockier tracks.  The last song is pure heavy rock with steady beats and guitar riffs and brings an energetic and lively night to a close. 

If the opening night is anything to go by then Dark Horse Metal Club promises to be one of the best metal nights in Belfast and gives audiences the opportunity to see the best rock acts Ireland has to offer.  Horse Face Promotions is definitely onto a winner with this one. 

Review by Chrissie McGlinchey 

ANIMAL DISCO LIVE: NOT SQUARES, YES CADETS, THE WOUNDS

- SPRING & AIRBRAKE, BELFAST 13/2/09

Animal Disco is the new name in Belfast to bring local live music to the masses and is a fitting title for the night’s line-up.  The Wounds, Yes Cadets and Not Squares are all intent on starting some kind of revolt on the dance floor.     

The billing attracted the attentions of an ample crowd, which is no surprise as all the bands have been rapidly building a loyal legion of fans and are beginning to make waves not only in our fair city but further afield and deservedly so.  
The openers The Wounds may have looked the part of the latest up-and-comers but fell a little short.

The Dublin-based band have been gathering steam with a busy few months ahead of them, playing support to the likes of Rolo Tomassi, but the musical direction of The Wounds felt a little at odds with the synth-heavy electro-led sound of their counterparts.

When Yes Cadets take the stage it feels as if the party is getting started, the dark cloud is lifted and the rhombic dancing begins as a result of the band’s catchy lyrics and foot-thumping beats. 

The outfit are relatively new on the circuit, rising from the ashes of long time scene members The Elliots’ demise and have turned a corner by moving away from their rock/pop roots towards a dancier and more promising future. 

The set is solid and upbeat although at times some of the songs start to stick to tried and tested formulas making it a little difficult to differentiate between them at first listen, but their music is distinctive and contains a lot of potential for the future. 

The highlight was the very radio-worthy “Fashionista Art Party” with its simple but effective guitar riff and the vocals that give an added edge with the two contrasting voices working well with one another. 

By the time the headliners are ready to take to the stage, the bar has successfully loosened up the crowd, who by this point are an excitable bunch whose dancing is about to get plain weird. 

The drink is not just to blame for the party atmosphere however, as Not Squares are a talent that transcends the local scene with their ambitious sound worthy of the attentions of a much larger audience.

The line-up is a quirky affair with two bassists to add to the mix and their attitude is bolshie with a set that is spontaneous and full of energy.

They start a little shakily with some technical difficulties but by the time “Vita Sackville West” kicks in people just don’t care. 

“You’re Still Drunk” is a furore of noise with a climactic finish and the rest of the set continues to pound on your eardrums until you feel like you’ve been punched. 

Watching the crowd as the headliners were wrapping things up, the punters had been suitably whipped into a state of frenzy, with the gig-goers busting some almighty moves left, right and centre. 

Overall, a great effort and proof that Not Squares are definitely one to watch.


Review by Rebski Shields  

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TEDDY THOMPSON, TIFT MERRITT

- SPRING & AIRBRAKE, BELFAST 9/2/09

On a bitterly cold Monday night I can think of nothing better to warm the cockles of my heart than indulging in a little folk and Teddy Thompson in the Spring and Airbrake seemed more than willing to provide. 

Opening for Teddy was Tift Merritt, an incredibly talented singer/songwriter from North Carolina whose 2008 album “Another Country" has had great success, rivalling that of her Grammy nominated second album “Tambourine”.

The crowd was even willing to humour her Guinness references (yeah because we never hear Americans talking about Guinness in Ireland) but with credit to Tift she timidly asked the audience to let her know if she said anything a little too cliché.

While watching Tift's set the audience couldn't be more enamoured with her; we listened intently, softly giggled at her jokes and broke into rapturous applause as every soothing dulcet tone drew to a close.  

The epitome of a polite southern belle, Tift later asked the audience if she could stand off the stage and perform on the floor with us plebs and after being carefully helped down she performed the beautiful "Keep You Happy" to an eerily silenced room hypnotically drawn to her.

Tift is next in back in Belfast at the Nashville Songwriters Festival so come next month there's no excuse for not having sampled some of her music live.

The headliner Teddy Thompson played a wonderfully eclectic set with the majority of the songs coming from his forth album "A Piece of What You Need."  Highlights of the night included the jovially catchy (dare I say soon to be folk anthem) “Can’t Sing Straight” and the ever so aptly named “I wish it were over” - I’m sure he’s not talking about the gig.  

The Grey Race, with the addition of Daniel Mintseris on keyboard, plays alongside Teddy for this tour.  They are excellently arranged and encourage the lyrics to harbour much more resonance than their content alone allowed.  It’s a bit of a change for fans now to be calling them “Teddy’s Band,” as opposed to a band in their own right, but keep an ear to the ground for future touring on their own.

Talking to them afterwards there was an inescapable air of a boys’ club, taunting one another but always as the best of friends, definitely a charming ensemble and well suited to each other.

As for defining his sound, it’s quite the challenge, with some pretty solid comparisons to be made with Rufus Wainwright but by no means exclusively.  Teddy has his own brand of mainstream, attractable folk, more than capable of breaking the mainstream in the right conditions.

 Tift’s appearance onstage during the encore of the Everly Brothers classic “’Till I Kissed Ya” encapsulated the entire gig, all artists on stage in a flawless collaboration, moments like this are few and far between.

On the downside, there were a few sound problems for Teddy as he struggled to hear himself despite the best efforts of the sound engineer.  From a completely selfish standpoint, although he was understandably frustrated, it caused no detriment to the audience who heard what they had come to expect - a vocal performance beautifully crystal clear in intonation and emotion. 

Poor Tift did forget to plug her guitar in at one stage, but was suitably embarrassed when the sound engineer pointed it out but to dwell on it would be cruel as she’s just that lovely!

According to his bio it seems Teddy is on a one-man crusade to overhaul popular opinion at the moment, saying the title song was “born from the frustration with the state of music.”  The man has a point: when test-tube artists from TV shows are clogging up the charts, who can blame someone for trying to purify the once privileged art form (but that’s a different rant for a different day).   All that needs to be said is after hearing him live, he has one more fan for the mission.

Review by Emma-Louise Fisher

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RADAR - A PLASTIC ROSE, DUTCH SCHULTZ, HERE COMES THE LANDED GENTRY

- SPEAKEASY, BELFAST 5/2/09

 
With the snow and credit crunch blues a free gig is always welcome news, so thankfully the return of Radar Live after a seasonal absence brought warmth to the hearts of Belfast gig-goers amidst the doom and gloom of economic recession and all that negative craic.

         With LaFaro having to step down from headline duties, as a result of landing a cushy last minute support slot on Fighting With Wire’s UK tour, it was down to the ever reliable A Plastic Rose* to dutifully fill their shoes,.

         The first Radar of 2009 kicked off with Here Comes The Landed Gentry*, a collective formed from the ashes of several local Derry bands. Although this reviewer missed them due to the necessities of applying mascara and consuming vodka, I have it on good authority that they put in a decent show with bluesy rock belters such as ‘Leadbelly’ satisfying the punters no end.

          Sandwiched in between HCTLG and the headliners were Dutch Schultz (try spelling that after a few beers). Their brand of metal-lite drew a sizable, largely male, crowd but the band appeared to gain increased attention due a clever marketing ploy - they were largely obscured from view by a rotation of two pole-dancers, whose skimpy outfits and gravity defying high jinks meant that the tunes were largely ignored as background music.

        It's a shame as the band did have a couple of decent tunes for those not distracted by the gyrating ladies with new single 'It Bends in the Middle'  standing out. Maybe next time fellas leave the strippers at home and let the music do the talking, although I’m sure it was a nice view for the lads on stage regardless.

         And so to the headliners A Plastic Rose- as well known on the Belfast scene for their affiliation with Buckfast tonic wine as their ability to play their brand of miserable but melodic indie rock, which has been garnering many plaudits locally.

         Graduating from the same school of gloom as Morrissey and Marr, the band took to the stage to rapturous applause from the receptive audience.

Despite the lead singer’s frequent apologies for the lack of LaFaro, the crowd were unaffected and happily pogo-ed around to the band’s back catalogue with multitudes of enthusiasm. LaFaro who?

APR prove a unique light in the Belfast scene - whilst trailblazers are singing about getting wasted and teenage dramas, APR are much more ambitious both lyrically and musically than many of their contemporaries.

        Without a doubt their biggest strength is the quality of their song-writing, as some of the lyrics are near impeccable with wistful, and at times, heart-wrenching melodies. APR are a band who remain true to their craft until the end, under no pressure to bow to commercial pop sensibilities or electro-clash fads and for that they should be applauded.

        Stand out track was the second song of the set, ‘Colour Blue’, which provoked a mass rush to the stage, with its tuneful yearning undoubtedly worthy of attention by any record label.

        Recent epic ‘Sun’s a Shadow,’ appearing midway through the 8 song set, was a further highlight, witnessing more than a few lighters held aloft in perfect unison. With a pulsing hypnotic drive behind it, it culminated in a throbbing climax with a fantastic drumming mantra gripping the crowd in the palm of its musical hand, refusing to let go.      

        Watching the performance it's evident the lads happily wear their influences on their sleeve and many of the songs played channel a mix of early 90's shoegazers Ride (check out their 1992 top tenner ‘Leave Them All Behind’ for the proof) and American emotional rock with elements of Bends-era Radiohead. Scottish rockers Idlewild are also clearly an endemic influence, with APR’s similar mix of melodies and intelligent lyrics coupled with heavy guitars recalling the Scots’ 2000 LP ‘100 Broken Windows.’

     As the band have a new EP release date pencilled in for February 20th, the gig provided a welcome opportunity for the band to showcase new material and set-closer ‘Kids Don’t Behave Like This’ was warmly received - clearly a positive sign of things to come. The song marks a maturity to the band’s recordings, with its wispy vocals and intense melody growing feverishly on the listener with repeated exposure.

         In spite of no evidence of obvious onstage charisma or one bumper upbeat number, the band did a sterling job of keeping energy levels high and preventing lapses of boredom. Indeed at times the on-stage performance was simply mesmerising - no mean feat in a room where the vast majority of punters’ main priority is getting pissed before the bar closes.

    Obviously their brand of melodic desolation may not be to everyone’s taste but the quartet is undeniably a band with much raw talent, although it still remains to be seen how they choose to apply it in the coming months.

With a slot playing in London, for Radio 1’s new music supremo Huw Stephens, in March the future seems distinctly bright, and with the art of crafting decent songs remaining alive and well in A Plastic Rose land, perhaps with a bit more polishing and discipline they could sparkle.

As for Radar, same time next Thursday?

Review by Claire McLoughlin  

(* Get FREE tracks from A Plastic Rose and Here Come the Landed Gentry on our Downloads page)

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DJ SCOTCH EGG

- LAVERY'S ATTIC, BELFAST 31/1/09

It’s a rain-soaked Saturday night as I enter Lavery’s to see DJ Scotch Egg, or Shigeru Ishihara as his mother knows him. Originally from Tokyo, but now native to Brighton, Egg combines the Nintendo Gameboy with a guitar distortion pedal to get his distinctive sound.

The music is described as ‘gabber’ or ‘chiptune’ and to the lay music fan I would say the beats per minute would need to be counted by the large hadron collider in Cern.

In the past he has collaborated with Duracell and most notably his fellow Brightonians The Go! Team. After a few listens to his debut album ‘KFC Core’ I was enticed to go just to satisfy the inner teenager in me trying to recapture a youth lost in Tetris and Mario.

Egg came onto the stage at 12:30 to a rapturous applause, with the crowd already warmed up by BEW, Space Dimension and Iso 9.  He grabbed the mike and introduced himself to the Belfast crowd.

Wearing a baseball cap and baggy jeans ensemble that wouldn’t look out of place on the streets of south central Egg powered up the various gameboys.  He proceeded to get the night going by using all the effects on the guitar pedal possible and made the little 8-bit machines churn noises out I’m sure the inventor never thought possible.

Due to the sheer crowd I took up a position beside the speaker, a decision my ears were not best pleased with, and watched as Egg got the crowd going by screaming into the microphone while climbing onto the DJ table to make sure all could see. 

A break of a few seconds between songs allowed the crowd to draw breath and Egg to take a sip from the steady stream of drinks offered to him all night. I turned around to see how my friends were coping and one had adopted tissue in the ears to dampen the sound.  Looking back it was an inspired decision!

After an hour-long set Egg came off with a great response from the crowd and as I looked around the packed room I saw smiling faces, a job well done I thought.

It was an experience that my ears and my now realigned ribcage will never forget and I hope to repeat the experience someday. Right I’m off to Cern to get those digits.


Review by Colum Mc Grath

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CHEAP DATE - LOWLY KNIGHTS, CAPTAIN KENNEDY,  JACKSON CAGE

-Black Box, Belfast 24/1/09
 
  

The Black Box in Belfast hosts the annual Out to Lunch Festival’s Cheap Date event; Three bands and a free lunch all for the paltry sum of £5. 

First act of the afternoon are Jackson Cage, hailing from Belfast through the Jonny Cash back catalogue.  Normally a seven piece, five members of the band are here today, minus the drummer and fiddle player.  

They open with A Hard Night (in the Kitchen) the lead singer explaining they felt it fitting given it being a lunchtime show ’n’ all.  It's a slow and laid back acoustic set, chilled out for a Saturday afternoon.  Their sound is very much country with influences of the Band and The Eagles clear in their songs. 

New songs showcased include ‘Be with me tonight’ and ‘Bitter Rose’, both slow and bluesy with strong vocals and good rhythms.

The last songs of the set are the fastest and most upbeat; ‘Samaritan Street’ has echoes of Hotel California with the guitar riffs and vocals; for the final song of the set ‘Take Me Home’ the lead singer excuses the absence of the drummer, urging the crowd to get involved with a healthy dose of hand clapping. 

Special mention has to be given to the electric guitarist whose riffs and playing stand out in what is a well rounded and enjoyable set given they don’t usually play acoustic sets.

Onto the second act of the afternoon; Captain Kennedy, a seven-piece from Lurgan, often likened to Bob Dylan and the Band.   This has often been levelled as a criticism at them and their sound is reminiscent of that era certainly, but they add their own slant to it making them much more than the tribute band some would have you believe.  

Consisting of lead and rhythm guitars, bass, keyboard, drums and fiddle with lead singer Ciaran Lavery’s raspy vocals and great musicianship from all members of the band make them one of the must see live acts around the North today. 

They open with ‘Hard Time’ a high-energy song with drumming so intense it verges on disturbed but in the best possible way, and complete with foot stamping on stage from other members. 

Best songs of the set are ‘Factory Whistle Call’, ‘Roll Ramona’, both upbeat and pure Americana and taken from the band’s new EP called Factory Whistle Call, and the slower and bluesier Bring that Light, but the whole set is polished and lively, full of vibrancy and energy. 

They close the set with ‘Good Action’  very much evoking the sounds of bygone eras with its organ and guitar riffs.

And so to the final act of the day: The Lowly Knights have been creating quite a stir of late with support slots for Snow Patrol in Sheffield, Liverpool and Belfast just confirmed for March.

Usually with 12 members a mere 9 are present today, with three of the choir off skiving/ skiing but with the size of the stage it’s hard to imagine many more fitting on.

The band comprises amongst other things a cellist, double bassist, two drummers, keyboardist, with an oboe, mandolin and maracas on various songs.  The two founders Neil Mullan and Stephen Caswell alternate lead singing duties during the set. 

Mullan opens on vocals with ‘You can tell a man by how he lifts his hands’; a heartfelt love song with beautiful and moving lyrics and ‘A Weight on my Mind’ with its lilting melodies and dark reflective tones. 

‘Devotion’ is most likely to be the band’s breakthrough song.  Apart from their choice of wardrobe, and the high number of members, it is also one of the reasons the band has been drawing comparisons to The Arcade Fire and Polyphonic Spree.  Strong percussion, strings and upbeat vocals have all the ingredients of a hit single. 

‘Baby don’t leave me’ sees Caswell take up singing duties and is a faster folkier affair. The band switch effortlessly between the fast and upbeat tunes of ‘Can’t Help Who You Love’ and ‘Miracle’ to the slower ‘Don’t go looking for disappointment’ and ‘Hold on Rebel’, a haunting song with piano and cello melodies combined with harmonies from the choir.

The faith of the group has a strong influence on their music and is referenced in ‘Hold On Rebel’ and ‘Miracle’, a personal favourite, that closes the set and ends the day on the perfect note with its uplifting crescendo. 

The lyrics in ‘Where are you now Jesus?’ however may have an overtly Christian theme for some listeners, although the song is great in terms of its musical content.

All in all a great set, full of energy and enthusiasm, and it is obvious that all the members love every minute of it.

The whole afternoon is the perfect opportunity to see three of the best folk rock bands playing in the NI music scene today with a lunch thrown in for good measure.   What better way to spend a Saturday afternoon?

Review by Chrissie Mc Glinchey

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THE BENJAMINS, THE QUEER GIRAFFES, CARA COWAN

- McHugh's Bar, Belfast 22/12/08

Three days to go before Christmas and despite succumbing to the current flu pandemic, I am on a mission to Mc Hugh’s bar in Belfast for what I hope to be one of the festive highlights in the local gig calendar.

Opening the line-up is Cara Cowan, a singer songwriter accompanied by a three-piece band. Highlights include a Shaking Steven’s cover of Merry Christmas Everyone with sleigh bells thrown in for good measure.

Onto act number two; The Queer Giraffes have been around in various guises for some time and when last I saw them the line up was completely different. This adds to their charm though as you’re never quite sure what you’re going to get.

They open with lead singer Steven Toner singing alone on stage with the rest of the members joining him a few verses in. The vibe is very alt country with echoes of The Band and Ryan Adams.

‘50 Flights of Stairs’, ‘Nova Rapid’ and ‘No More Drinking’ all illustrate these influences although band’s musical talents provide their own slant to their influences.

Rumours of a cover of ‘Fairytale of New York’ with Cara Cowan as guest vocal abound but prove unfounded. Whisperings of a cover of Kate Perry’s ‘Hot and Cold’ prove more accurate and despite my misgivings it is surprisingly good.

The fact that Toner has the lyrics written up his arm adds to the effect. Having heard the original since I have to admit the Giraffes version is far superior.

And so to the main event; The Benjamins describe themselves as a three piece falling down the stairs but on hearing them you imagine a grand staircase as opposed to the narrow back stairs of a dodgy bar.

The band has undergone a change of line up in recent months with bassist Jonny ‘running away to join a bigger circus’ but new recruit Helena slots in seamlessly and it’s business as usual for the band.

With a drumbeat of near military precision and great harmonies on vocal their sound is refreshing and darkly melodic. Highlights include ‘Love Like Fire’, ‘Bite Your Lip’ and ‘Fight You’ll Die’ heavy on the bass rhythm and steady drums.

It being Christmas the night wouldn’t be complete without a Christmas tune but when the drums begin I try frantically to work out the festive connection with Iron Butterfly’s ‘In A Gadda Da Vida’.

All becomes clear when lead singer Andy starts to sing the telling lyrics. ‘God Rest Ye Merry Gentlemen’ is fantastic and fits perfectly into the Benjamin’s unique style.

The band defies convention and decides on nine rather than their usual set of eight songs closing with the catchy and upbeat ‘My My’.

My high hopes for the night are well met and worth the three bed-ridden days that follow. Forget the Credit Crunch. This year it’s all about The Benjamins.

Review by Chrissie McGlinchey

banner pics by Graham Smith