It's taken 15 months of rumour, wrangling and trauma but finally there's some good news for The Cellars. The News are reporting that the venue has been saved from auction (and possible closure) after one of its long-time patrons bought the pub from Enterprise Inns. If that wasn't cause for three rousing huzzahs the venue has also announced that, as it's no longer tied to a chain, the beer range has been refreshed and prices lowered. Smashing.
I really like The Cellars, it's a fine cosy venue and that it's been saved from being turned into flats or a convenience store welcome news indeed. Over the next few months the venue has a veritable plethora of musical delights on offer, from the likes of the eccentic John Otway, the legendary Dean Friedman and newcomer Jazz Morley in October, Miles Hunt & Erica Nockalls (from The Wonder Stuff), Emily Barker & The Red Clay Halo and Mama's Gun in November plus a smörgåsbord of new local talent from Jurassic Mark's showcases in December.
A fine selection of gigs forthcoming I'm sure you'll agree, and there's plenty more to whet the appetite on their website. Now all they've got to do is make sure they don't leave the tables in place by the front of the stage (I know, some people are never satisfied).
Saturday, September 24, 2011
Bestival 2011 - Part One
Rob da Bank's annual farewell to the festival season, a hedonistic September weekend on the Isle of Wight, is now in its eighth year. That it's taken me this long to get off my tuchus and make the short journey across the water is a tale for another day but, having hosed off the caked Somerset mud from my wellies, off I went.
The festival site is covered by a thick blanket of fog by the time I arrive (there's a side-tale of walking into a pub that I won't bore you with), so much so that it resembles Silent Hill more than Robin Hill; keeping this tenuous gaming theme going the first sight I encountered once inside the enclosure was a tree festooned with what appeared to be Little Big Planets. Once the fog clears I'd see the site for real but, on this damp Thursday night in September, the lights and strange buildings rendering out of the murk added a surreal twist that my brain struggled to cope with.
Somewhere in the murky gloop 80s popsters Blancmange were already working their way through their back catalogue. With no point of reference to guide me (save for the signs pointing the way which, obviously, I ignored) I first ended up in the Psychedelic Worm (it's a big tent, I was tired, etc) before one of our party picked out the sound of synths in the air; following the sound led me nicely to the Big Top, arriving in time to hear both Living On The Ceiling and Blind Vision. Lovely.
Thankfully the fog had lifted by Friday morning, with the sun just about making a proper appearance by the time the legendary Brian Wilson took the stage. The former Beach Boy, perched at his keyboards for most of the set, had the crowd singing along with arms waving to the beat. Backed by his really rather excellent backing band he played the feel-good songs we wanted to hear (plus one of his new Gershwin re-workings which, I must confess, worked better than I'd anticipated).
Bestival's eclectic line-up means the upbeat fun of Brian Wilson is followed by 80's hip hop legends Public Enemy, another of the many acts on the bill that I was looking forward to. Unfortunately, and try though I might, I just didn't get it. The posturing was excessive (we're a captive audience, there's no need to bang on about how great you are) and I want to hear some tunes not Flava Flav banging on about his Twitter feed. I lasted 20 minutes, which was about one and a half songs of their set, before I moseyed off to find something more entertaining.
My wandering led to Bollywood where, almost hidden behind the Ferris wheel, sat The Black Dahlia tent. According to the programme it was supposed to have an air of a 1930's speakeasy, which would be true if the bar staff in such places spent more time talking to each other rather than serving the customers. Regardless of the listless bar staff the tent was a delight; DJs spinning 78s of old jazz and swing, each song heavy on the crack and pop.
It was whilst sitting on the carpet, watching the chandeliers sway, light bulbs flickering almost in time to the music, that Sara Spade (aka The Ukulele Lady) took the stage. With her band she entertained with a collection of original songs and classics (including a requisite Formby number), keeping my foot tapping and bringing a smile to faces all round. Leaving the comforts of the Dahlia I made steps to the Big Top, where Graham Coxon was entertaining a sizeable crowd. A sizeable and, if the people near me were anything to go by, quite excitable crowd.
It was whilst standing at the back, listening to highlights of Happiness In Magazines, I first encountered the great Bestival tradition of bundling. It's fairly straightforward to get the hang of; all you need to do is, when amongst your group of chums, push one to the floor so the rest can dive on top. When the screaming for air gets too loud you all pile off, help you chum to their feet, have a smoke and a big laugh. Well, it makes a change from piping Nitrous Oxide I suppose.
The Bestival site is fairly big, so it pays to plan ahead if there's specific bands that you want to see. It could also be argued that half the fun is stumbling across bands as you wend your way around the place. Or you could do like me, make a plan to do one thing then do something completely different. That's how I ended up at the Wonderland Bar (which, for some reason, I kept calling the Wonderland Zoo for the rest of the weekend), near the Bandstand in Tomorrow's World, instead of staying put at the Main Stage for Magnetic Man. Admittedly I got to catch some of their set; as I yomped up the hill, past the Pants To Poverty stall, Getting Nowhere drifted up the hill behind me.
Benjamin Francis Leftwich holds court at the Bandstand when I get there, a rapt audience sat cross legged, all hanging on his every note and lyric. A combination of enjoying his very mellow set combined with a prolonged encounter with the very drinkable Bestivale meant I only caught the end of Mogwai's set; what I saw lived up to my expectations, at times both raw and precise measures of sound, skillfully played dirges and melodic excursions that took my brain places it wasn't sure it wanted to go to.
My last stop of Friday was again The Black Dahlia; one-time Dangerous Brother Ade Edmondson, together with the rest of his Bad Shepherd bandmates, demonstrated how to rework punk and new wave using a mandolin and uillean pipes. What the two middle aged guys in front of me, who spent a large chunk of the set snorting cocaine and giving each other knowing "Hey, we're doing drugs" looks, thought of it I can only guess. As for me I savoured every second of the folk punk, or punk folk, before their set ended and I finally called it a day.
The festival site is covered by a thick blanket of fog by the time I arrive (there's a side-tale of walking into a pub that I won't bore you with), so much so that it resembles Silent Hill more than Robin Hill; keeping this tenuous gaming theme going the first sight I encountered once inside the enclosure was a tree festooned with what appeared to be Little Big Planets. Once the fog clears I'd see the site for real but, on this damp Thursday night in September, the lights and strange buildings rendering out of the murk added a surreal twist that my brain struggled to cope with.
Somewhere in the murky gloop 80s popsters Blancmange were already working their way through their back catalogue. With no point of reference to guide me (save for the signs pointing the way which, obviously, I ignored) I first ended up in the Psychedelic Worm (it's a big tent, I was tired, etc) before one of our party picked out the sound of synths in the air; following the sound led me nicely to the Big Top, arriving in time to hear both Living On The Ceiling and Blind Vision. Lovely.
Thankfully the fog had lifted by Friday morning, with the sun just about making a proper appearance by the time the legendary Brian Wilson took the stage. The former Beach Boy, perched at his keyboards for most of the set, had the crowd singing along with arms waving to the beat. Backed by his really rather excellent backing band he played the feel-good songs we wanted to hear (plus one of his new Gershwin re-workings which, I must confess, worked better than I'd anticipated).
Bestival's eclectic line-up means the upbeat fun of Brian Wilson is followed by 80's hip hop legends Public Enemy, another of the many acts on the bill that I was looking forward to. Unfortunately, and try though I might, I just didn't get it. The posturing was excessive (we're a captive audience, there's no need to bang on about how great you are) and I want to hear some tunes not Flava Flav banging on about his Twitter feed. I lasted 20 minutes, which was about one and a half songs of their set, before I moseyed off to find something more entertaining.
My wandering led to Bollywood where, almost hidden behind the Ferris wheel, sat The Black Dahlia tent. According to the programme it was supposed to have an air of a 1930's speakeasy, which would be true if the bar staff in such places spent more time talking to each other rather than serving the customers. Regardless of the listless bar staff the tent was a delight; DJs spinning 78s of old jazz and swing, each song heavy on the crack and pop.
It was whilst sitting on the carpet, watching the chandeliers sway, light bulbs flickering almost in time to the music, that Sara Spade (aka The Ukulele Lady) took the stage. With her band she entertained with a collection of original songs and classics (including a requisite Formby number), keeping my foot tapping and bringing a smile to faces all round. Leaving the comforts of the Dahlia I made steps to the Big Top, where Graham Coxon was entertaining a sizeable crowd. A sizeable and, if the people near me were anything to go by, quite excitable crowd.
It was whilst standing at the back, listening to highlights of Happiness In Magazines, I first encountered the great Bestival tradition of bundling. It's fairly straightforward to get the hang of; all you need to do is, when amongst your group of chums, push one to the floor so the rest can dive on top. When the screaming for air gets too loud you all pile off, help you chum to their feet, have a smoke and a big laugh. Well, it makes a change from piping Nitrous Oxide I suppose.
The Bestival site is fairly big, so it pays to plan ahead if there's specific bands that you want to see. It could also be argued that half the fun is stumbling across bands as you wend your way around the place. Or you could do like me, make a plan to do one thing then do something completely different. That's how I ended up at the Wonderland Bar (which, for some reason, I kept calling the Wonderland Zoo for the rest of the weekend), near the Bandstand in Tomorrow's World, instead of staying put at the Main Stage for Magnetic Man. Admittedly I got to catch some of their set; as I yomped up the hill, past the Pants To Poverty stall, Getting Nowhere drifted up the hill behind me.
Benjamin Francis Leftwich holds court at the Bandstand when I get there, a rapt audience sat cross legged, all hanging on his every note and lyric. A combination of enjoying his very mellow set combined with a prolonged encounter with the very drinkable Bestivale meant I only caught the end of Mogwai's set; what I saw lived up to my expectations, at times both raw and precise measures of sound, skillfully played dirges and melodic excursions that took my brain places it wasn't sure it wanted to go to.
My last stop of Friday was again The Black Dahlia; one-time Dangerous Brother Ade Edmondson, together with the rest of his Bad Shepherd bandmates, demonstrated how to rework punk and new wave using a mandolin and uillean pipes. What the two middle aged guys in front of me, who spent a large chunk of the set snorting cocaine and giving each other knowing "Hey, we're doing drugs" looks, thought of it I can only guess. As for me I savoured every second of the folk punk, or punk folk, before their set ended and I finally called it a day.
Friday, September 16, 2011
Southsea Fest preview
One of the great things about living in the Portsmouth area (aside from the close proximity of my favourite venue and the exquisite joy and pain of supporting the local football team) is Southsea Fest; this annual event, now in its 5th year, turns Albert Road into a showcase of new and interesting music with various pubs and venues along the thoroughfare becoming stages for the day. As festivals go it ticks all the boxes; there's a variety of bands to suit most tastes, the beer is reasonably priced and neither rain nor mud can interfere with your enjoyment.
Over the past few years I've enjoyed stumbling across many bands that I'd not previously heard of (no, really), some of whom have gone on to great things whilst some have stayed in the shadows. I've bought CDs, stuffed my pockets with stickers and signed up for mailing lists. I've also seen a large mouse be interviewed for TV and ended up looking after a three-legged wooden pig for an hour, but those are stories for another time.
Moving swiftly on, I've perused the line-up and picked five of the many, many fine acts playing tomorrow that I'd like to see, as follows:
Dry The River
2210-2300 @ The Globe Inn
A five piece from London that produce a mellow alt-folk layered with violins and very distinctive vocals.
Clock Opera
2120-2150 @ The Wedgewood Rooms
I'm fairly sure I caught these as a support for someone awhile back. I can't remember who they supported, or when, but I do recall that they made a very good impression.
Trophy Wife
2210-2240 @ The Wedgewood Rooms (Club NME stage)
I caught a snippet of Trophy Wife's Bestival set at the Bandstand last weekend, excellent synthy indie (with guitar noodlings) from Oxford.
Jumping Ships
1400-1435 @ The Edge of The Wedge (BSM & Alcopop! stage)
To be honest I don't really know all that much about Jumping Ships. I know they're from Brighton and I know that they create a spikey indie pop noise; I've been to Brighton, I like spikey indie pop, and I like the way Jumping Ships play it.
Apollo's Arrows
1420-1450 @ Southsea Social Club
Apollo's Arrows hail from just up the road, a Southampton trio that produce a powerfully delivered alternative sound (I'm sure there's more than a sprinkle of At The Drive-In in there). Nice.
Over the past few years I've enjoyed stumbling across many bands that I'd not previously heard of (no, really), some of whom have gone on to great things whilst some have stayed in the shadows. I've bought CDs, stuffed my pockets with stickers and signed up for mailing lists. I've also seen a large mouse be interviewed for TV and ended up looking after a three-legged wooden pig for an hour, but those are stories for another time.
Moving swiftly on, I've perused the line-up and picked five of the many, many fine acts playing tomorrow that I'd like to see, as follows:
Dry The River
2210-2300 @ The Globe Inn
A five piece from London that produce a mellow alt-folk layered with violins and very distinctive vocals.
Clock Opera
2120-2150 @ The Wedgewood Rooms
I'm fairly sure I caught these as a support for someone awhile back. I can't remember who they supported, or when, but I do recall that they made a very good impression.
Trophy Wife
2210-2240 @ The Wedgewood Rooms (Club NME stage)
I caught a snippet of Trophy Wife's Bestival set at the Bandstand last weekend, excellent synthy indie (with guitar noodlings) from Oxford.
Jumping Ships
1400-1435 @ The Edge of The Wedge (BSM & Alcopop! stage)
To be honest I don't really know all that much about Jumping Ships. I know they're from Brighton and I know that they create a spikey indie pop noise; I've been to Brighton, I like spikey indie pop, and I like the way Jumping Ships play it.
Apollo's Arrows
1420-1450 @ Southsea Social Club
Apollo's Arrows hail from just up the road, a Southampton trio that produce a powerfully delivered alternative sound (I'm sure there's more than a sprinkle of At The Drive-In in there). Nice.
Wednesday, September 07, 2011
Bestival 2011 Preview
Tomorrow I'll be bidding the old homestead adieu for a couple of days, slinging my well-packed rucksack over my shoulder, and heading over to the Isle of Wight for Bestival 2011. It'll be my first jaunt to Rob Da Bank's annual shindig, the last big UK festival of the year and one that has a reputation for good music and fun. The line-up for this year is a suitably eclectic mix and, as more artists have been announced over the past few months, my excited has been building. Now it pretty much goes without saying that I'm looking forward to enjoying the spectacle of Björk's live set, Brian Wilson's (supposedly) final festival appearance, the shoe-gazing awesomeness of The Cure and the chance of seeing The La's on stage, but here are a few other bands on the bill that I'm proposing are worth checking out...
Magnetic Man
I'll confess that I couldn't tell you what's hot or what's not in the world of dub step but I know what I like and this lot I like very much. The combined talents of Messrs Skream, Benga and Artwork have produced a fine collection of electronic sounds (one of which, Getting Nowhere, tests the speakers in my local fleapit before every film) which should get a packed tent jumping.
John Grant
With Queen of Denmark the ex-Czars front-man produced, to my mind, one of the stand-out best albums of last year. A stirring collection of beautiful songs that ache to be played over and over. I could continue waxing lyrical about how great John Grant is but superlatives can only go so far. Suffice to say that he's very good, so very very good indeed.
Junip
You remember José González right? Had a big hit a few years back with his mellow acoustic cover of The Knife's Heartbeats? Well, before he went solo he was in Junip producing similar, if slightly quirkier, acoustic goodness (if you search the web you should be able to locate most of their 2005 Black Refuge EP, featuring the excellent Turn To The Assassin and a tasty cover of Bruce Springsteen's Ghost of Tom Joad). Junip have reformed and are touring with new material (a sample of which can be found on RCRD LBL). Mellow.
Asian Dub Foundation
Being a complete gig-whore I tend to get asked, on a fairly regular basis, what my favourite gig is/was. After much umm-ing, ahh-ing and general bluster my answer is invariably that time I saw Asian Dub Foundation at The Wedgewood Rooms. It was a hot, sweaty, bouncing, gripping, pounding evening of musical power; if their set at Bestival is even a tenth of that, I'll be happy.
Treefight for Sunlight
Good music seems to fall out of Denmark all the time; from Mew to The Kissaway Trail, excellent sounds have poured forth from Northern climes over the past few years. The latest to hit our shores is Copenhagen's Treefight For Sunlight, an indie pop four-piece producing joyfully upbeat and infectious tunes.
The Bad Shepherds
The idea of taking a known song from one genre and reworking it in another isn't new, but the results don't often produce such mellifluous offerings as the combined talents of Troy Donockley, Andy Dinan and Adrian Edmondson (yes, THAT Ade Edmondson). The chaps rework punk and new wave classics, sprinkled liberally with beer and stringed instruments, to produce a foot-tapping folk sound (yes, folk) that introduces old favourites as if hearing them for the first time. So, grab yourself a beer, hunt out The Bad Shepherds wherever stage their playing, and have fun. Phew, I managed to get through that without mentioning Vyvyan. Oh, arse.
Son of Dave
AKA Benjamin Darvill, late of the Crash Test Dummies, who blends the Blues, beat-boxing and his virtuoso harmonica playing with eye-popping results. A strange, breathless hybrid of Blues and techno, and the 'between song' banter is usually pretty good too.
Jon Hopkins and King Creosote
Not to take anything away from PJ Harvey and her Mercury Prize win last night, but I think these two were robbed.
I could go on (I invariably do) but that'll do for now; no doubt I'll probably not get to see any of the above and, instead, will stumble across one of the many fine artists on the bill that I've not heard of, enjoy what I'm hearing, and lose all sense of time. And, honestly, isn't that what festivals are all about?
Magnetic Man
I'll confess that I couldn't tell you what's hot or what's not in the world of dub step but I know what I like and this lot I like very much. The combined talents of Messrs Skream, Benga and Artwork have produced a fine collection of electronic sounds (one of which, Getting Nowhere, tests the speakers in my local fleapit before every film) which should get a packed tent jumping.
John Grant
With Queen of Denmark the ex-Czars front-man produced, to my mind, one of the stand-out best albums of last year. A stirring collection of beautiful songs that ache to be played over and over. I could continue waxing lyrical about how great John Grant is but superlatives can only go so far. Suffice to say that he's very good, so very very good indeed.
Junip
You remember José González right? Had a big hit a few years back with his mellow acoustic cover of The Knife's Heartbeats? Well, before he went solo he was in Junip producing similar, if slightly quirkier, acoustic goodness (if you search the web you should be able to locate most of their 2005 Black Refuge EP, featuring the excellent Turn To The Assassin and a tasty cover of Bruce Springsteen's Ghost of Tom Joad). Junip have reformed and are touring with new material (a sample of which can be found on RCRD LBL). Mellow.
Asian Dub Foundation
Being a complete gig-whore I tend to get asked, on a fairly regular basis, what my favourite gig is/was. After much umm-ing, ahh-ing and general bluster my answer is invariably that time I saw Asian Dub Foundation at The Wedgewood Rooms. It was a hot, sweaty, bouncing, gripping, pounding evening of musical power; if their set at Bestival is even a tenth of that, I'll be happy.
Treefight for Sunlight
Good music seems to fall out of Denmark all the time; from Mew to The Kissaway Trail, excellent sounds have poured forth from Northern climes over the past few years. The latest to hit our shores is Copenhagen's Treefight For Sunlight, an indie pop four-piece producing joyfully upbeat and infectious tunes.
The Bad Shepherds
The idea of taking a known song from one genre and reworking it in another isn't new, but the results don't often produce such mellifluous offerings as the combined talents of Troy Donockley, Andy Dinan and Adrian Edmondson (yes, THAT Ade Edmondson). The chaps rework punk and new wave classics, sprinkled liberally with beer and stringed instruments, to produce a foot-tapping folk sound (yes, folk) that introduces old favourites as if hearing them for the first time. So, grab yourself a beer, hunt out The Bad Shepherds wherever stage their playing, and have fun. Phew, I managed to get through that without mentioning Vyvyan. Oh, arse.
Son of Dave
AKA Benjamin Darvill, late of the Crash Test Dummies, who blends the Blues, beat-boxing and his virtuoso harmonica playing with eye-popping results. A strange, breathless hybrid of Blues and techno, and the 'between song' banter is usually pretty good too.
Jon Hopkins and King Creosote
Not to take anything away from PJ Harvey and her Mercury Prize win last night, but I think these two were robbed.
I could go on (I invariably do) but that'll do for now; no doubt I'll probably not get to see any of the above and, instead, will stumble across one of the many fine artists on the bill that I've not heard of, enjoy what I'm hearing, and lose all sense of time. And, honestly, isn't that what festivals are all about?
Saturday, September 03, 2011
Mud Morganfield at The Cellars
Mud Morganfield, the eldest son of Blues legend Muddy Waters, returns to Portsmouth tomorrow night. Fresh from touring the globe Mud returns to The Cellars with his band The Dirty Aces (featuring guitarist Ronni Buysack-Boysen, Ian Jennings on Double Bass, Mike Hellier on drums and harmonica player West Weston) for a damn fine evening of Chicago Blues.
Tickets are available via the venue's website, priced £14 in advance, or £15 on the door. For a taste of what to expect check out the YouTube clip below:
Tickets are available via the venue's website, priced £14 in advance, or £15 on the door. For a taste of what to expect check out the YouTube clip below:
Friday, September 02, 2011
Summer Ska Funkin' Picnic 2011
Southsea's Bandstand stages a last hurrah for the Summer tomorrow when the Southsea Mafia hold their Summer Ska Annual Picnic. The musical fun and games are rescheduled from June when, as has happened a lot with events at the Bandstand this summer, bad weather caused the originally planned event to be cancelled.
The ska-packed line-up features live music from Butserfest Battle of the Bands finalists Skaraman, the precocious Huw Olesker & The Barebackers, Ugly Auntie and the mighty Big Topp. If that wasn't enough the Southsea Mafia DJs will be spinning a selection of tunes inbetween and afterward.
The shenanigans start at at midday, run through til 1600, and there are rumours of an after party (at an as yet undisclosed location) on the event's Facebook page. This is a FREE event, all you need to do is turn up and enjoy yourself.
The ska-packed line-up features live music from Butserfest Battle of the Bands finalists Skaraman, the precocious Huw Olesker & The Barebackers, Ugly Auntie and the mighty Big Topp. If that wasn't enough the Southsea Mafia DJs will be spinning a selection of tunes inbetween and afterward.
The shenanigans start at at midday, run through til 1600, and there are rumours of an after party (at an as yet undisclosed location) on the event's Facebook page. This is a FREE event, all you need to do is turn up and enjoy yourself.
Tuesday, August 30, 2011
Kent Duchaine brings the Blues to Pompey
Delta Blues guitarist Kent DuChaine will pay a rare visit to Portsmouth this week when his current tour rolls into town. The Minnesota native, who bizarrely found his way to the Blues via the liner notes on an Eric Clapton LP, will be ably supported by his classic 1934 National Steel guitar, Leadbessie, when he plays The Golden Eagle in Southsea this Friday, 2nd September.
Over the years Kent has backed up or supported such Blues greats as Boogie Woogie Red, Eddie Burns, Luther Tucker, Albert Collins and Howlin' Wolf; in 1989 he met legendary Bluesman Johnny Shines and, over the next three years, played over 200 shows together before Shines' death in 1992. Since then Kent has travelled the four corners, armed with Leadbessie, playing the music he loves to appreciative audiences around the globe.
Entry to this Friday's gig is FREE, for more information check the Golden Eagle's Facebook page.
UPDATE: Pub location information refreshed, legacy URL removed.
Over the years Kent has backed up or supported such Blues greats as Boogie Woogie Red, Eddie Burns, Luther Tucker, Albert Collins and Howlin' Wolf; in 1989 he met legendary Bluesman Johnny Shines and, over the next three years, played over 200 shows together before Shines' death in 1992. Since then Kent has travelled the four corners, armed with Leadbessie, playing the music he loves to appreciative audiences around the globe.
Entry to this Friday's gig is FREE, for more information check the Golden Eagle's Facebook page.
UPDATE: Pub location information refreshed, legacy URL removed.
Monday, August 29, 2011
Wilko Johnson for The Wedgewood Rooms
A few years ago, at the Blues On The Farm Festival just outside Chichester, I stumbled upon a jaw-dropping sight; a mad-eyed bald man pinballing around the stage, fixing the audience with an electrically charged stare, all the while delivering scorching riffs aplenty.
I'll have another chance to experience this spectable when Wilko Johnson, for it was he, plays The Wedgewood Rooms on Sunday 23rd October. Ably backed by Dylan Howe on drums and virtuoso bass player Norman Watt-Roy, the ex-Blockhead and ex-Dr. Feelgood guitarist has visited Pompey several times over the years (notably to highly appreciative audiences at The Cellars) but now brings his solo set to a larger venue.
Tickets are available from the venue now, priced at £12.50, with support from recent Showcase entrants The Vortex Buzz and local legends The Good Time Charlies.
I'll have another chance to experience this spectable when Wilko Johnson, for it was he, plays The Wedgewood Rooms on Sunday 23rd October. Ably backed by Dylan Howe on drums and virtuoso bass player Norman Watt-Roy, the ex-Blockhead and ex-Dr. Feelgood guitarist has visited Pompey several times over the years (notably to highly appreciative audiences at The Cellars) but now brings his solo set to a larger venue.
Tickets are available from the venue now, priced at £12.50, with support from recent Showcase entrants The Vortex Buzz and local legends The Good Time Charlies.
Update: Support band details refreshed.
Thursday, August 25, 2011
Gosport Waterfront Festival 2011
The Gosport Waterfront Festival, an three day musical shindig held annually in the town's Walpole Park, starts tomorrow night. In previous years the line-up has tended toward a mix of local bands, cover acts and and artists who were big on the scene several years ago (but have fallen off the radar somewhat) and this year is no exception (well, if it ain't broke, etc). However, owing to rising costs, a cut in funding and a lack of full sponsorship, the organisers have had to charge an entrance fee for the first time; entrance to the festival site will now set you back £1 per night.
Once again the Friday night is made up of predominantly local acts, including Wedgewood Rooms Showcase finalists Melodramas and local Punk outfit Night of Treason. Local rockers Superfly and South Coast Pink Floyd specialists Perfect Alibi warm things up on the Saturday before headliner Chas Hodges (as in Chas & Dave) gets a chorus of Gertcha, Rabbit and such out of the punters. The fun draws to a close on Sunday when Toploader (yeah, I couldn't believe it either) get Gosport dancing in the moonlight (sorry).
Full details of the line-up, including set times, can be found on the event's website.
Once again the Friday night is made up of predominantly local acts, including Wedgewood Rooms Showcase finalists Melodramas and local Punk outfit Night of Treason. Local rockers Superfly and South Coast Pink Floyd specialists Perfect Alibi warm things up on the Saturday before headliner Chas Hodges (as in Chas & Dave) gets a chorus of Gertcha, Rabbit and such out of the punters. The fun draws to a close on Sunday when Toploader (yeah, I couldn't believe it either) get Gosport dancing in the moonlight (sorry).
Full details of the line-up, including set times, can be found on the event's website.
Monday, August 22, 2011
Pearl Jam Twenty
It's hard to believe but it really has been twenty years since Pearl Jam's awesome debut album, 10, was released. As a lead-in to the band's 20th Anniversary, and starting with the first album, their vast, entire back catalogue has been remastered and re-released in 'Legacy Editions'. As much I often view such exercises as cynical attempts to make fans part with their hard-earned for albums they already own, the remastered version of 10, released in 2009, improves upon the original and is definitely worth investing in.
Getting to the point, long time fan and friend of the band Cameron Crowe (director of Singles and Jerry Maguire) has fashioned a documentary, featuring archival material, live performances and new interviews with the band, which is due for release in September. If you live in the Southampton/Portsmouth area and want to see the film then your best option at the moment is to point your browser to the Vue website; their Gunwharf cinema has one screening planned, on Tuesday 20th September (the day of release), and is selling advanced tickets already. Other local cinemas may have screenings in the pipeline, but their websites aren't saying as much at the moment (I'll add details of other local cinemas showing the film as soon I know of any).
Getting to the point, long time fan and friend of the band Cameron Crowe (director of Singles and Jerry Maguire) has fashioned a documentary, featuring archival material, live performances and new interviews with the band, which is due for release in September. If you live in the Southampton/Portsmouth area and want to see the film then your best option at the moment is to point your browser to the Vue website; their Gunwharf cinema has one screening planned, on Tuesday 20th September (the day of release), and is selling advanced tickets already. Other local cinemas may have screenings in the pipeline, but their websites aren't saying as much at the moment (I'll add details of other local cinemas showing the film as soon I know of any).
Monday, August 15, 2011
The Drums playing The Pyramids
New York's indie popsters The Drums, who release second album Portamento next month, have announced a string of UK dates this November and December. Notable on the list is a return visit to The Pyramids on Tuesday 6th December; the band played there previously on the 2010 Shockwaves NME Awards Tour. Tickets go on sale this coming Friday, available from The Wedgewood Rooms, priced at £14.50.
Scroobius Pip coming to The Wedge
It seems like it was only Saturday night that the sterling video for Introdiction was first thrust in front of me, my drunken eyes widening as the bearded wordsmith defoliated his face fuzz before setting about his televisual hovel. And that's probably because it was; shame on me for not watching it before. Moving swiftly on, today comes news that Scroobius Pip will be hitting The Wedgewood Rooms this November, on Thursday 10th to be precise. Tickets are £9, on sale now from the venue, with solo album Distraction Pieces released on September 19th (if you can't wait til then, you can always bid on his beard shavings).
Saturday, August 13, 2011
Björk - 'Crystalline'
Not that I ever need an excuse to play some Björk you understand but, as my Bestival ticket plopped onto the doormat earlier...
Friday, August 12, 2011
Evolution II @ The Wedgewood Rooms
Rock and Metal club night Evolution returns to The Wedgewood Rooms tomorrow night for a second inning, the poster above tells you all you need to know but, just for the hell of it, why don't I just run through the line-up anyway; there's live music from Bare Your Scars, Freakpit, Toxic Shock and the mighty Kodiak Jack, plus classic tunes til late courtesy of resident DJs Hev Stilet Hoe, DJ Matt Random and The Reverend Eales.
The through doors to The Edge will be opened up as well, the overspill bar hosting some Hip Hop as well as comfy chairs. The price of admission for the gig part of the evening is a bargain £4 and entry after 2300 is FREE! For more information on Evolution check out their website or their Facebook page.
The through doors to The Edge will be opened up as well, the overspill bar hosting some Hip Hop as well as comfy chairs. The price of admission for the gig part of the evening is a bargain £4 and entry after 2300 is FREE! For more information on Evolution check out their website or their Facebook page.
Thursday, August 11, 2011
The End of The Revolution
The announcement that Pure Reason Revolution were calling it a day popped up in my Facebook feed earlier; the Reading alternative prog rockers have cited 'changing circumstances' but whatever the real reason it's a damn shame. I first stumbled across the band several years ago, supporting Mew at The Wedgewood Rooms if memory serves, and with their intoxicating blend of harmonies and melodic (and, yes, progressive) rock they soon became a band that my gigging buddies and I obsessively followed.
We bought the CDs, coveted the badges, used the bookmarks given away at the merchandising desk and waited with bated breath for news of a new release. Time passed only for debut album The Dark Third to be re-released in a slightly different form. Of course, we bought that too. Our fanboy ardour waned as the months went by; after a disappointing gig at The Joiners, beset with technical issues, one of our number decided that was enough. Our fickle fandom could only take so much.
However, being the kind of sad music obsessive that I am, I couldn't give them up completely. I scoured the internet for updates, there were rumours of the new album, but I wouldn't believe it until I had a copy in my grubby mitts. So it was, some months later, that I again found myself at The Joiners. The rumours were true; a pile of shiny new CDs, all in shiny cardboard sleeves, teased me from the merchandise desk.
Second album, Amor Vincit Omnia, dispensed with the lush strings from the debut, replacing them with dollops of synthesizer. The harmonies and repeated themes remained but, despite a couple of excellent signature tunes (Deus Ex Machina and Victorious Cupid), it wasn't as wholly satisfying a listen as their debut. Where the album succeeded though was in showing a band confident enough to experiment with their sound.
Not letting the dust settle PRR continued their push into electronic territories, perfecting their efforts on third long player Hammer and Anvil. Co-written and produced by Tom Bellamy (ex-Cooper Temple Clause) the album is a heavy, pounding, synth happy delight; throat-grabbing opener Fight Fire is a song that seems designed to accompany things blowing up.
Shortly after Hammer and Anvil's release I saw the band for what now looks to be the last time, at last year's SouthseaFest; having drawn the opening slot on the Wedge stage the band found themselves playing to a mostly empty room. No matter, they cranked the dials up to 11 and played a charged set sampling their new long player. This was a band ready to seize the day, or so I thought at the time; I really do have a kiss of death about these things.
But before they bid the crowds adieu, pack up their instruments and go their separate ways, the band will be playing a final six shows. The 'farewell tour' takes in Nottingham, Bristol, Norwich, Holmfirth, Glasgow and London (but sadly no 'one last time' at The Joiners, which is a shame) with debut The Dark Third being played in its entirety each night. A good way to say goodbye, if there is such a thing.
So long PRR, and thanks.
We bought the CDs, coveted the badges, used the bookmarks given away at the merchandising desk and waited with bated breath for news of a new release. Time passed only for debut album The Dark Third to be re-released in a slightly different form. Of course, we bought that too. Our fanboy ardour waned as the months went by; after a disappointing gig at The Joiners, beset with technical issues, one of our number decided that was enough. Our fickle fandom could only take so much.
However, being the kind of sad music obsessive that I am, I couldn't give them up completely. I scoured the internet for updates, there were rumours of the new album, but I wouldn't believe it until I had a copy in my grubby mitts. So it was, some months later, that I again found myself at The Joiners. The rumours were true; a pile of shiny new CDs, all in shiny cardboard sleeves, teased me from the merchandise desk.
Second album, Amor Vincit Omnia, dispensed with the lush strings from the debut, replacing them with dollops of synthesizer. The harmonies and repeated themes remained but, despite a couple of excellent signature tunes (Deus Ex Machina and Victorious Cupid), it wasn't as wholly satisfying a listen as their debut. Where the album succeeded though was in showing a band confident enough to experiment with their sound.
Not letting the dust settle PRR continued their push into electronic territories, perfecting their efforts on third long player Hammer and Anvil. Co-written and produced by Tom Bellamy (ex-Cooper Temple Clause) the album is a heavy, pounding, synth happy delight; throat-grabbing opener Fight Fire is a song that seems designed to accompany things blowing up.
Shortly after Hammer and Anvil's release I saw the band for what now looks to be the last time, at last year's SouthseaFest; having drawn the opening slot on the Wedge stage the band found themselves playing to a mostly empty room. No matter, they cranked the dials up to 11 and played a charged set sampling their new long player. This was a band ready to seize the day, or so I thought at the time; I really do have a kiss of death about these things.
But before they bid the crowds adieu, pack up their instruments and go their separate ways, the band will be playing a final six shows. The 'farewell tour' takes in Nottingham, Bristol, Norwich, Holmfirth, Glasgow and London (but sadly no 'one last time' at The Joiners, which is a shame) with debut The Dark Third being played in its entirety each night. A good way to say goodbye, if there is such a thing.
So long PRR, and thanks.
Wednesday, August 03, 2011
NME Radar Tour line-up announced
From the high-pitched warbling of La Roux to the raucous stage antics of Crystal Castles, the NME Radar Tour always offers the experience of something different, interesting or down-right weird. Earlier this year the crowd at the Wedgewood Rooms were treated to the delights of Grouplove and the awesome Anna Calvi when the Spring leg of the tour landed in Portsmouth (unfortunately I arrived too late to experience The History of Apple Pie).
The line-up for the Autumn leg of the tour features in this week's edition of the NME; Wolf Gang headline with post-punk five-some S.C.U.M. taking the second space on the bill. The remaining slot is split between Stockholm's Niki & The Dove and Australian thrash popsters DZ Deathrays.
The peripatetic tour stumbles into Portsmouth on Tuesday 4th October with the venerable Wedgewood Rooms again hosting. After a spell away in northern climes the tour returns to the South Coast a fortnight later, pitching up at Brighton's Concorde 2 on Monday 17th October when all four bands will feature.
Tickets go on general sale this coming Friday.
The line-up for the Autumn leg of the tour features in this week's edition of the NME; Wolf Gang headline with post-punk five-some S.C.U.M. taking the second space on the bill. The remaining slot is split between Stockholm's Niki & The Dove and Australian thrash popsters DZ Deathrays.
The peripatetic tour stumbles into Portsmouth on Tuesday 4th October with the venerable Wedgewood Rooms again hosting. After a spell away in northern climes the tour returns to the South Coast a fortnight later, pitching up at Brighton's Concorde 2 on Monday 17th October when all four bands will feature.
Tickets go on general sale this coming Friday.
Guillemots on a stick
Indie pop rockers Guillemots have announced details of their Autumn tour, including two dates down south; the band play Portsmouth's Wedgewood Rooms on Sunday 30th October and are at The Old Market in Brighton the following night, Monday 31st October. Expect to hear chunks of new album Walk The River alongside a selection of tunes from the band's first two albums and, more than likely, that Billy Joel song as well.
Tickets go on general sale this coming Friday.
Tickets go on general sale this coming Friday.
Monday, August 01, 2011
Kodiak Jack - 'Your Death : My Glory'
Having laboured long in the studio Pompey rockers Kodiak Jack have unleashed their debut long player uoon the world; the band celebrated the launch of 'Your Death : My Glory' with a sold out gig at the Edge of The Wedge on Saturday last.
The 10 track CD is released by Southampton label Angry Badger Records (no, really) and to wet your appetite here's the album opener, Crossfire...
The CD version of the album can be purchased direct from the band, alternatively the album is available for download from such reputable outlets as Amazon and iTunes (update: the Portsmouth branch of HMV is now stocking the CD also).
Sunday, July 31, 2011
Ugly Duckling returning to Blighty
Long Beach's favourite sons Ugly Duckling provided one of my most enjoyable gig experiences of last year, in a packed Drift In The City of all places. The Californian three piece delivered an uplifting set of beats and rhymes that got even a Pompey crowd moving and, after giving 100% on stage, the guys made the time and effort to meet and greet afterward.
Details of a new UK tour have now started to appear on the Yudee forum and amongst the dates listed so far is a return visit to Portsmouth and a stop in Brighton; Andy C, Dizzy Dustin and Young Einstein will be at The Highlight in Gunwharf on Monday 10th October and The Haunt in Brighton on Saturday 15th October.
Details of a new UK tour have now started to appear on the Yudee forum and amongst the dates listed so far is a return visit to Portsmouth and a stop in Brighton; Andy C, Dizzy Dustin and Young Einstein will be at The Highlight in Gunwharf on Monday 10th October and The Haunt in Brighton on Saturday 15th October.
Update: The full list of dates has now been released by the band, in addition to the two local dates listed above they've squeezed in a visit to Southampton's Orange Rooms on Sunday 16th October. Orange, squeezed.. See what I did there? Yeah, with material that good I should be on TV. Ahem.
Wednesday, July 27, 2011
The Computers versus Southampton
In amongst the regular glut of spam and eggs that filled my email inbox today was a natty missive from indie/punk noise merchants The Computers. I was lucky enough to catch the four piece at The Wedgewood Rooms when they supported The Duke Spirit but, and maybe it was that last pint, for the life of me I can't remember signing their mailing list. Whatever, scrawl my name across the sheet of A4 I obviously did.
Getting to the point, the band have announced that they'll be joining The Subways on their Autumn tour, rocking up at Southampton University on Monday 3rd October. Before then however the band will be supporting Face To Face at The Joiners on Tuesday 30th August. Which is nice.
Getting to the point, the band have announced that they'll be joining The Subways on their Autumn tour, rocking up at Southampton University on Monday 3rd October. Before then however the band will be supporting Face To Face at The Joiners on Tuesday 30th August. Which is nice.
Here's a taster to whet your appetite...
Saturday, July 16, 2011
Sirens soundtrack & Heartbreak
There I was, idly thumping the remote control buttons on a wasted Friday night, when I chanced upon Channel 4's new ambulance drama Sirens. The show is based on ex-ambulance EMT Brian Kellett's excellent blog and has the usual Channel 4 hallmarks of snappy editing (with things speeding up/slowing down at random), a sprinkling of sex & expletives and, of course, a cracking soundtrack.
Last night's episode featured a good chunk of the Warpaint album (no bad thing) plus tunes from Miike Snow, Local Natives and Magnetic Man amongst others. What caught my ear though was the unmistakable strains of Anglo-Argentine electro pop duo Heartbreak's Don't Lose My Time.
I first heard of Heartbreak when the NME Radar Tour stopped off at the Wedge in 2009, they were midway up the bill (with La Roux headlining) but were definitely my highlight of the evening. The twosome delivered a solid set of 80's influenced Italo-pop with an eye-popping amount of energy; so enamoured was I that I immediately bought their album from the merch desk.
Unfortunately not much has been heard from the Heartbreak camp since, which is a shame, but a hunt through YouTube gleaned the following clips of the band in action:
Also tucked away on YouTube was this interview the band gave whilst they were on the NME Radar Tour:
As for Sirens, Brian Kellett has listed the tunes used in the first three episodes on his new blog (and he's knocked up a Spotify playlist for each too, which is nice).
Last night's episode featured a good chunk of the Warpaint album (no bad thing) plus tunes from Miike Snow, Local Natives and Magnetic Man amongst others. What caught my ear though was the unmistakable strains of Anglo-Argentine electro pop duo Heartbreak's Don't Lose My Time.
I first heard of Heartbreak when the NME Radar Tour stopped off at the Wedge in 2009, they were midway up the bill (with La Roux headlining) but were definitely my highlight of the evening. The twosome delivered a solid set of 80's influenced Italo-pop with an eye-popping amount of energy; so enamoured was I that I immediately bought their album from the merch desk.
Unfortunately not much has been heard from the Heartbreak camp since, which is a shame, but a hunt through YouTube gleaned the following clips of the band in action:
Also tucked away on YouTube was this interview the band gave whilst they were on the NME Radar Tour:
As for Sirens, Brian Kellett has listed the tunes used in the first three episodes on his new blog (and he's knocked up a Spotify playlist for each too, which is nice).
Thursday, July 14, 2011
So, farewell then Rilo Kiley...
The NME are reporting that American mellow indie types Rilo Kiley, following a long hiatus, have decided to call it a day. Bad news. Rilo Kiley were, like The Decemberists, one of the many fine bands I discovered thanks to the late and much lamented internet radio station WOXY.
A few years back the band nearly headlined the Wedge; a date was announced as part of a UK tour, a gig that I bought tickets for as soon as I found out about it. Sadly the show was cancelled shortly after (sad but true, I've still got the tickets).
So anyway, thanks RK for the good tunes, here's a few of them to be going along with...
A few years back the band nearly headlined the Wedge; a date was announced as part of a UK tour, a gig that I bought tickets for as soon as I found out about it. Sadly the show was cancelled shortly after (sad but true, I've still got the tickets).
So anyway, thanks RK for the good tunes, here's a few of them to be going along with...
Saturday, July 09, 2011
Emily Barker & The Cellars at Eastney
Earlier this year I enjoyed a marvellous evening at The Cellars in Eastney sampling the music of Emily Barker & The Red Clay Halo. I must confess that my interest in attending said gig was a mixture of "Oh, they did the theme to Wallander didn't they?" and "Ahh.. they've supported Frank Turner so they must be good".
And yes, they played Nostalgia (aka the tune that plays over the opening credits whilst a blue hued Kenneth Branagh emotes), and yes, they were very good; a beautifully performed set that resulted in my being strangely drawn to the merch desk at the end of the evening.
Monday, July 04, 2011
Glastonbury Festival 2011 - Part One
In previous years my enjoyment of the "Glasto experience" has meant gravitating toward the sofa, cracking open a cold one and watching events unfold over the various BBC channels; if I wanted the full effect I'd stand in a bucket of mud at the bottom of the garden, downwind of the neighbour's compost heap, and squint at a screen 15 metres away (a screen that's partially obscured with flags obviously). However for the past few years a mate of mine has been gently badgering me to go, assuring me that (as I'm something of a gig whore) I'd love it. Frankly there is only so much prodding my willpower can take before it melts like a Kit Kat in a hot car. And so, inevitably, it came to pass that I got off of my keister, bought a ticket, and made the journey to that special corner of the world known as Glastonbury.
Friday 24th June
For the people at home, watching Auntie Beeb's coverage, the festival starts today. For me and several thousand others however the festival has been already ticking over for a couple of days; I've been in Somerset since Tuesday, on-site since Wednesday morning, and the novelty of wet-wipe bathing has long worn off (though the shock of the long drops is still fresh in the mind).
Under an overcast sky The Master Musicians of Joujouka start events on the Pyramid Stage, bringing a slice of Morocco to Somerset; the soft drone of their instruments carries on the wind, a strange and intriguing cacophony. Over at the West Holts Stage the Brazilian sounds of Ziriguidum are more my thing, a 50-strong outfit whose samba drums dance my feet in the direction of the Brothers Bar and back again a couple of times.
Following an extended sojourn in the Green Fields I return to the Pyramid Stage in time for the Wu-Tang Clan; from my vantage point halfway up the hill the mix sounds stodgy and distorted, heavy waves of bass slosh around and I can barely pick an F-bomb out of the lyrics. Instead I watch the Swallows who, oblivious to the music, dart through the sky just inches above the tent tops.
At 85 years of age BB King is the Grand Master of the Blues, he can therefore be excused for letting his band warm the crowd up a bit before making his appearance. Not that he needs anyone to warm up an audience that is; the throng at the Pyramid Stage hang on his every word and, it must be said, I get a weird squishy feeling inside when I hear the opening bars of The Thrill Is Gone.
Scottish rockers Biffy Clyro have had an amazing 18 months, discounting having one of their tunes used to line Simon Cowell's pockets that is, and their Glasto set is icing on what must be a very large cake indeed. The band stir through a large chunk of Only Revolutions, mix in some of Puzzle and a sprinkling of Infinity Land and Blackened Sky. All good stuff, though the mass sing-along is reserved for that one that the guy from X Factor covered.
The enigma that is Steven Patrick Morrissey swaggers out into the evening, a heady mixture of sarcasm, dourness and self-deprecation, and launches into I Want The One I Can't Have. I immediately turn back into a 15 year old wastrel and start waving my arms wildly, wondering idly if there's a flower shop nearby. Indeed the first half of the set blends a fine mix of classic Smiths tunes (Shoplifters Of The World Unite & There Is A Light That Never Goes Out) with up-tempo solo material (First Of The Gang To Die & You Have Killed Me). Unfortunately things seem to stall midway; the inclusion of so-so new material leaves our party shuffling about in our dampening ponchos, a state that not even a cover of Satellite of Love can resolve.
Meat Is Murder would not then seem the obvious choice to warm up a cold and wet crowd; a paean to vegetarianism sung in the middle of what is, for most of the year at least, a Dairy farm. A odd choice but, now on a roll, our hero heads toward the big finish. Earlier in the set Moz had announced that he'd sing as fast as he can, given that the audience were all waiting for U2; whether this is the reason for the sprint through This Charming Man or not I don't know, but motor through the song the band duly do. And, just like that, he's gone; some old songs, some new songs, a change of shirt and a dig at David Cameron. Like I said, an enigma.
Even though the Glastonbury Festival site is, I am reliably assured, the size of the city of Bath, I wonder if it's big enough to hold Bono's ego. I'm still pondering this thought when, shortly before 10 o'clock, things start to happen on the Pyramid Stage. The strains of Bowie's Space Oddity can be heard and the additional video screens fire into life; bugs and butterflies are animated in bright colours as the opening chords of Even Better Than The Real Thing fill the air.
If I'm honest at this point we're still not 100% if this is still an introduction or whether U2 are actually there; the primary video screens, usually showing the act on stage, are off and, from our place in the field, the front of the stage is obscured by flags. Eventually the video screens flicker into life and, there dressed in black, Bono strides the stage. The crowd roars, the ego has landed.
The front of the set favours Achtung Baby, an album I played to death when released but, honestly, I've not touched for many years. If the rediscovery of U2's 90's reboot album is a joy for me it's something the voice next to me is not happy about. "I don't want to hear this new shit", it says. I point out to my chum that the album is at least 10 years old (it's actually just over 20, a worrying thought indeed). Shortly after this I Will Follow has him, albeit briefly, jumping around.
For their Glastonbury performance U2 have forsaken the majority of their usual theatrical tricks; the additional video screens the only concession. Unfortunately Bono appears to have taken this to mean that he must try and connect with the audience; he tries gamely, expressing his regret that he can't watch Primal Scream at the same time as entertaining us, launching into a cringe-worthy rendition of Jerusalem, but it falls flat.
With a set straining at the sides with hits, packed with songs we all know, with nods to the weekend's remaining headliners as well, it could be that the band are trying a bit too hard. Or, then again, it could be that I've been standing in the rain for several hours, the annoying drizzle long since permeating my German Army poncho, and I've just finished my last beer.
The huge screen at the rear of the stage flickers with static and an astronaut appears, live from the ISS, linking the set back to Bowie's opus at the introduction. So much for no smoke and mirrors, I am beguiled by the giant spaceman releasing the lyrics of Beautiful Day into zero gravity and turn grinning to my chum. "That was amazing!", I say. "What was?", he replies. A 50 foot spaceman appears in a field in Somerset and he misses it. Typical. With renewed vigour, or maybe it's just my recaptured attention, the band roar into the home straight; forgiving the execrable Get On Your Boots we're swept up with Vertigo, carried along with Sunday Bloody Sunday before being left sated by Pride.
Abandoning my plan to trudge through the rain and mud to the Avalon Stage, where Barenaked Ladies are no doubt singing about Brian Wilson, I instead head back to my tent after U2's encore, sodden and too sober to enjoy it. As I pass the camp-site crew's caravan I see the weather report chalked on the door; rain until 4AM, lovely after that.
Fingers crossed.
Friday 24th June
For the people at home, watching Auntie Beeb's coverage, the festival starts today. For me and several thousand others however the festival has been already ticking over for a couple of days; I've been in Somerset since Tuesday, on-site since Wednesday morning, and the novelty of wet-wipe bathing has long worn off (though the shock of the long drops is still fresh in the mind).
Under an overcast sky The Master Musicians of Joujouka start events on the Pyramid Stage, bringing a slice of Morocco to Somerset; the soft drone of their instruments carries on the wind, a strange and intriguing cacophony. Over at the West Holts Stage the Brazilian sounds of Ziriguidum are more my thing, a 50-strong outfit whose samba drums dance my feet in the direction of the Brothers Bar and back again a couple of times.
Following an extended sojourn in the Green Fields I return to the Pyramid Stage in time for the Wu-Tang Clan; from my vantage point halfway up the hill the mix sounds stodgy and distorted, heavy waves of bass slosh around and I can barely pick an F-bomb out of the lyrics. Instead I watch the Swallows who, oblivious to the music, dart through the sky just inches above the tent tops.
At 85 years of age BB King is the Grand Master of the Blues, he can therefore be excused for letting his band warm the crowd up a bit before making his appearance. Not that he needs anyone to warm up an audience that is; the throng at the Pyramid Stage hang on his every word and, it must be said, I get a weird squishy feeling inside when I hear the opening bars of The Thrill Is Gone.
Scottish rockers Biffy Clyro have had an amazing 18 months, discounting having one of their tunes used to line Simon Cowell's pockets that is, and their Glasto set is icing on what must be a very large cake indeed. The band stir through a large chunk of Only Revolutions, mix in some of Puzzle and a sprinkling of Infinity Land and Blackened Sky. All good stuff, though the mass sing-along is reserved for that one that the guy from X Factor covered.
The enigma that is Steven Patrick Morrissey swaggers out into the evening, a heady mixture of sarcasm, dourness and self-deprecation, and launches into I Want The One I Can't Have. I immediately turn back into a 15 year old wastrel and start waving my arms wildly, wondering idly if there's a flower shop nearby. Indeed the first half of the set blends a fine mix of classic Smiths tunes (Shoplifters Of The World Unite & There Is A Light That Never Goes Out) with up-tempo solo material (First Of The Gang To Die & You Have Killed Me). Unfortunately things seem to stall midway; the inclusion of so-so new material leaves our party shuffling about in our dampening ponchos, a state that not even a cover of Satellite of Love can resolve.
Meat Is Murder would not then seem the obvious choice to warm up a cold and wet crowd; a paean to vegetarianism sung in the middle of what is, for most of the year at least, a Dairy farm. A odd choice but, now on a roll, our hero heads toward the big finish. Earlier in the set Moz had announced that he'd sing as fast as he can, given that the audience were all waiting for U2; whether this is the reason for the sprint through This Charming Man or not I don't know, but motor through the song the band duly do. And, just like that, he's gone; some old songs, some new songs, a change of shirt and a dig at David Cameron. Like I said, an enigma.
Even though the Glastonbury Festival site is, I am reliably assured, the size of the city of Bath, I wonder if it's big enough to hold Bono's ego. I'm still pondering this thought when, shortly before 10 o'clock, things start to happen on the Pyramid Stage. The strains of Bowie's Space Oddity can be heard and the additional video screens fire into life; bugs and butterflies are animated in bright colours as the opening chords of Even Better Than The Real Thing fill the air.
If I'm honest at this point we're still not 100% if this is still an introduction or whether U2 are actually there; the primary video screens, usually showing the act on stage, are off and, from our place in the field, the front of the stage is obscured by flags. Eventually the video screens flicker into life and, there dressed in black, Bono strides the stage. The crowd roars, the ego has landed.
The front of the set favours Achtung Baby, an album I played to death when released but, honestly, I've not touched for many years. If the rediscovery of U2's 90's reboot album is a joy for me it's something the voice next to me is not happy about. "I don't want to hear this new shit", it says. I point out to my chum that the album is at least 10 years old (it's actually just over 20, a worrying thought indeed). Shortly after this I Will Follow has him, albeit briefly, jumping around.
For their Glastonbury performance U2 have forsaken the majority of their usual theatrical tricks; the additional video screens the only concession. Unfortunately Bono appears to have taken this to mean that he must try and connect with the audience; he tries gamely, expressing his regret that he can't watch Primal Scream at the same time as entertaining us, launching into a cringe-worthy rendition of Jerusalem, but it falls flat.
With a set straining at the sides with hits, packed with songs we all know, with nods to the weekend's remaining headliners as well, it could be that the band are trying a bit too hard. Or, then again, it could be that I've been standing in the rain for several hours, the annoying drizzle long since permeating my German Army poncho, and I've just finished my last beer.
The huge screen at the rear of the stage flickers with static and an astronaut appears, live from the ISS, linking the set back to Bowie's opus at the introduction. So much for no smoke and mirrors, I am beguiled by the giant spaceman releasing the lyrics of Beautiful Day into zero gravity and turn grinning to my chum. "That was amazing!", I say. "What was?", he replies. A 50 foot spaceman appears in a field in Somerset and he misses it. Typical. With renewed vigour, or maybe it's just my recaptured attention, the band roar into the home straight; forgiving the execrable Get On Your Boots we're swept up with Vertigo, carried along with Sunday Bloody Sunday before being left sated by Pride.
Abandoning my plan to trudge through the rain and mud to the Avalon Stage, where Barenaked Ladies are no doubt singing about Brian Wilson, I instead head back to my tent after U2's encore, sodden and too sober to enjoy it. As I pass the camp-site crew's caravan I see the weather report chalked on the door; rain until 4AM, lovely after that.
Fingers crossed.
Monday, June 06, 2011
The Duke Spirit @ The Wedgewood Rooms 02/06/2011
Little has been heard of London alternative rockers The Duke Spirit since dust settled on 2008's Neptune. The band have been on an extended sojourn in the US, gigging and working on forthcoming long player Bruiser, but are now back in Blighty, showcasing new material on a tour of smaller venues.
Having recently played just up the road in Southampton I hadn't expected to see 'sold out' on the door, even so I'm surprised to find the Wedge a shave under half full. It's still a good crowd for a band who've been away awhile though.
Before Liela and chums entertain us we've the support act to enjoy/endure. Going by the moniker of The Computers they're an unknown quantity. Neither I nor my gigging buddies have heard of them but already we've come to the same conclusion; that''s a crap name for a band, it fails the all important "Good Evening Springfield" test for a start.
We're further perturbed when, sporting Mark Lamarr-style 50's throwback quiffs, they take the stage. "Oh crap", one of my chums mutters, "they're a Rockabilly band". Collectively we make the decision to point feet toward the bar and hide out there. Too late, there go the lights. We realise our mistake in judging them on their name and look up almost immediately; a sonic assault of indie powered punk, all loud guitars and throat ripping vocals, hits us amidships.
Short spikey songs, powered with rage and delivered with attitude, fire out from the stage. Between tunes the lead singer hawks another gob of spit on the floor and shakes the quiff out of his eyes. That guy down the front, you know the one, yells something we can't quite hear (but can catch the gist of); too much talking between songs. He gets a volley of expletives for his trouble as the band launches into another rocket-powered opus.
As the set progresses the lead singer/guitarist keeps moving his mic stand ever closer to the edge of the stage, into the gap by the barrier, then into the audience. He finishes up at the rear of the room, doubled-over in guitar-gasm, next to three 40ish year old blokes with jaws dropped open (guess who).
Unfortunately, after this debauched display, it pains me to admit that the headline act pale by comparison. Yes, The Duke Spirit can rock. They can roll. They can do both at the same time even but, after The Computers' energetic performance, their static stage presence seems tired.
Tracks from the first two albums sound as good as ever and new song Villain, available as a free download from the band's website, entertains. But they don't grab me, shake me, throw me to the floor and pick me back up again. I've been broken by The Computers and The Duke Spirit can't fix me.
We hear the end of the headliners' set from the relative comfort of the foyer where, as fate would have it, The Computers' lead singer is manning the Merch desk. Like the drunken fanboys we are we gush over their performance, handing over cash for CDs and coloured vinyl.
But, we tell him, that really is a crap name for a band.
Having recently played just up the road in Southampton I hadn't expected to see 'sold out' on the door, even so I'm surprised to find the Wedge a shave under half full. It's still a good crowd for a band who've been away awhile though.
Before Liela and chums entertain us we've the support act to enjoy/endure. Going by the moniker of The Computers they're an unknown quantity. Neither I nor my gigging buddies have heard of them but already we've come to the same conclusion; that''s a crap name for a band, it fails the all important "Good Evening Springfield" test for a start.
We're further perturbed when, sporting Mark Lamarr-style 50's throwback quiffs, they take the stage. "Oh crap", one of my chums mutters, "they're a Rockabilly band". Collectively we make the decision to point feet toward the bar and hide out there. Too late, there go the lights. We realise our mistake in judging them on their name and look up almost immediately; a sonic assault of indie powered punk, all loud guitars and throat ripping vocals, hits us amidships.
Short spikey songs, powered with rage and delivered with attitude, fire out from the stage. Between tunes the lead singer hawks another gob of spit on the floor and shakes the quiff out of his eyes. That guy down the front, you know the one, yells something we can't quite hear (but can catch the gist of); too much talking between songs. He gets a volley of expletives for his trouble as the band launches into another rocket-powered opus.
As the set progresses the lead singer/guitarist keeps moving his mic stand ever closer to the edge of the stage, into the gap by the barrier, then into the audience. He finishes up at the rear of the room, doubled-over in guitar-gasm, next to three 40ish year old blokes with jaws dropped open (guess who).
Unfortunately, after this debauched display, it pains me to admit that the headline act pale by comparison. Yes, The Duke Spirit can rock. They can roll. They can do both at the same time even but, after The Computers' energetic performance, their static stage presence seems tired.
Tracks from the first two albums sound as good as ever and new song Villain, available as a free download from the band's website, entertains. But they don't grab me, shake me, throw me to the floor and pick me back up again. I've been broken by The Computers and The Duke Spirit can't fix me.
We hear the end of the headliners' set from the relative comfort of the foyer where, as fate would have it, The Computers' lead singer is manning the Merch desk. Like the drunken fanboys we are we gush over their performance, handing over cash for CDs and coloured vinyl.
But, we tell him, that really is a crap name for a band.
Sunday, June 06, 2010
Big Brother Soul's World Cup Special
The hardest working Soul band on the South Coast, Big Brother Soul, return to Gosport on Friday 9th July for another hot and sweaty evening of Stax & Motown at The White Hart. As the gig occurs at the tail end of the month-long football fest in South Africa, and there is of course the remote chance England make it to the final, the poster has a decidedly 1966 look and feel to it...
Ticketsshould be are available from the venue from Thursday 10th June NOW, priced at a bargain £3!
Given that previous BBS gigs at The White Hart sold out ahead of time I'd advise getting your tickets ASAP. For more information on the band check out their website or find them on Facebook.
Tickets
Given that previous BBS gigs at The White Hart sold out ahead of time I'd advise getting your tickets ASAP. For more information on the band check out their website or find them on Facebook.
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