Hot, sweaty, sweat, heat, dripping. HOT! Just a few words I feel sum up tonight’s show. But don’t let me give you the wrong impression. The night was an absolute success.
First support act The Blakes take to the stage with a certain swagger. Consisting of brothers Snow and Garnet, and drummer Bob, The Blakes play thirty minutes of true garage rock. A genre quite apart to that of this evening's headline act The Wombats, who certainly seem to of had a much more comfortable upbringing to that of The Blakes.
Next on the bill were quirky two piece, The Magic Wands. This pair may have needed to create a little more abracadabra for tonight’s performance however, as the crowd were perhaps a little un-prepared for their unusual, but impressive and innovative set.
Entering the stage with their oversized “magical” lion Sylvester, you would initially be led to think that the wombat driven crowd would take to such a gimmick. But no! The songs they present just don’t seem to capture many people’s minds.
Fantastical guitars and reverberating vocals complete The Magic Wand's sound. Tracks such as ‘Kiss Me Dead’ and ‘Heartbreak Whirl’ create a subtle feeling of euphoria. And with only two members and the intelligent use of a laptop full of beats, the girl and boy duo really do perform. Shame this evening's crowd just weren’t having any of it.
Having pushed the boundaries a little too far for the audience of MySpace savvy popsters, it was time for a break. And what better antidote for the anxious crowd than a rendition of Culture Club's ‘Karma Chameleon’! The care-free and quite honestly camp anthem proved to be the perfect medicine, lifting the crowd’s spirits and suitably preparing them for the imminent arrival of (for tonight anyway) their indie/pop icons.
“Tales of girls AND boys AND girls AND MARSUPIALS”. The first we hear from The Wombats, and what an impressive start. Even if you’re not a fan, there is no question that the strength and articulation of both their albums and tonight’s opening track is second to none.
After hushing the 3000 strong crowd and with the tentative opening song complete, the boys could really get to grips with their first big hit, ‘Kill The Director’. A chorus of “Bridget Jones” resonate throughout the Academy accompanied with a fluster of energy. The chants end and lead singer Murphy states to the crowd, “you guys are pretty rowdy”. I’m quite sure the guys wouldn’t expect anything less.
The band have played Birmingham Academy on numerous occasions, but they still perform tonight as if it’s their first ever gig. These guys must really love playing live as their energy and enthusiasm seems as clear now as it was a few months back. The only difference tonight being their increased confidence and suitably accelerated performance.
After musing to myself as to whether Norwegian bassist Tord is actually mental, I diverted my attention to crowd pleaser ‘Lost In The Post’. The tune boasts something integral to The Wombats songs, their catchy backing vocals. And who better to blast them out other than mentalist Tord. After “ooing” his Norwegian heart out, the band have a minute to take in the 3000 strong sweaty crowd.
“So I’m moving to New York, cus I’ve got problems with my sleep…” Need I say more? A song which weirdly defies most of their other songs, and tonight, brings the whole crowd together in a forum of ecstasy. With this, in my opinion, The Wombats most favoured and integral song over I retreat to the bar for a top up.
As far as bands go today, The Wombats are able to present the crowd with a symbol of youth and a care-free attitude to life. Their presentation of ‘Lets Dance To Joy Division’ sums up the whole evening with thanks to the line, “we’re so happy”, never having more meaning.
Indie disco favourite ‘Backfire At The Disco’ ends the trio's two song encore with help from a pair of shiny disco balls. The catchy chorus and fast paced, guitar driven verses lead the dehydrated crowd into an explosion of cheers. And even though this evening’s performance will be etched in my memory, I’m bloody glad to get outside for some fresh air.
The Wombats continue touring around the UK until the end of this month when they pop over to America for a few dates.
Review - Frazer Lawton
Photos - Lucy Pryor
The Wombats + Magic Wands + The Blakes @ Birmingham Academy – 10th May
Colin MakIntyre + Red Light Company + This Love Affair + Pete Haywood @ Birmingham Barfly – 7th May
Being the largest of all the Barfly’s, the Birmingham venue (on this one of the warmest days of the year so far) boasted a welcome underground hub of which the outside sun could not penetrate. Unfortunately I arrived a little late, consequently missing the first support act of the evening Pete Haywood. But my mood was swiftly heightened thanks to Birmingham based band This Love Affair gracing the Barfly’s more than substantial stage.
Formed back in 2005 after the respective disbandment of the group’s previous bands, This Love Affair boast a surprisingly unique catalogue of catchy pop tunes. Highlights of their set include ‘She’s My Enemy’ and the bands own account of a love lost, ‘Turn The Page’. Both poses your standard pop song structure, but with added angles thanks to their explosive guitar riffs and brooding vocals.
Having been compared to established bands such as U2, the considerably younger members of This Love Affair hold a certain maturity to a sound of which they’ve grasped and made their own. You can download the bands recent EP via itunes or alternatively go and see them where they’ll quite happily give you one absolutely free.
Now. I know when reviewing you should at least try to be objective, but I can’t deny that tonight’s show was held unmistakably by outwardly cosmopolitan group, Red Light Company.
The 5 piece consisting of Richard Frenneaux (vox/guitar), Shawn Day (bass), James Griffiths (drums), Paul Mellon (guitar) and Chris Edmonds (keys) all hail from some very different parts of the world. And it certainly makes you wonder exactly how they all came together. Stretching from Australia to Japan, and from our beloved (by most, I think?) Birmingham to Bridgend, Red Light Company’s formation is a testament to the sound they have achieved.
After meeting Richard via the internet, bassist Shawn finally managed to pull together enough funds for his visa to be approved for entry into the UK. The rest of the band could then begin their very exciting journey as Red Light Company.
Having first seen the guys at the more moderate, but suitably stimulating Camden Barfly, my expectations were high. Current single ‘With Lights Out’ (telling the story of one of Richards childhood friends committing suicide and the sorrow involved) shocks the crowd, as Richard’s passionate vocals, Shawn’s lyrical bass and the brooding backing of chimes fabricate a sound of great proportion.
Vocally led track ‘Scheme Eugene’ sees front man Richard and keys player Chris melodically chant to each other, musing creatively about “the Broken Social Scene”. Whilst future anthem ‘Arts And Crafts’ combine graceful keys and positively emotive vocals to create a sound of which the venues walls quite possibly had never heard before.
The group finish somewhat aptly with an epic last song of great valour. ‘When Everyone Is Everybody Else’ really gives the seemingly mounting crowd something to adhere to. Led initially by bassist Shawn, the chorus of guitars and Richard’s shaky and emotive vocals combine to create an awe-inspiring few minutes. But just before they are about to end the Barfly goes silent and Richard takes the crowds gazes with a few simple, but poignant lines of vocals.
With Red Light Company’s set sadly over I go to have a quick chat with front man Richard Frenneaux.
Having travelled round a lot, I was curious as to what Richard thought of Birmingham. Expecting the worst I braced myself for a diplomatic answer. It turns out his parents actually live in Birmingham and in fact all 5 members of the band were kipping at his Mom and Dads that evening. Not very rock and roll I hear you say, but the band are clearly set on achieving great success no matter what. Richard’s belief in his bands music is seen when I ask him if he was looking forward to the up-coming Wolverhampton gig. His reply was “yes, but I’m not sure whether we’re headlining or not?” His answer gave me the distinct impression that at this stage he didn’t really care where the band played as long as there were people around to listen.
Having already produced an album (which release date is due sometime in autumn 2008) and playing venues where people are already beginning to sing along, Red Light Company can enjoy an exciting tour and look forward to success in the very near future.
After a lengthy, but deserved discussion on Red Light Company I feel I must interject and explore the headline act of the evening, Colin MacIntyre. The singer/songwriter was to me, unheard of, but obviously not to the majority of the audience who probably know him best from his previous outfit The Mull Historical Society.
Having been mistaken in the past for the actual Mull Historical Society (yes it does exist!) Mr MacIntyre, whose heritage lies within the Scottish island of Mull, embraces the name change. But Colin makes it crystal clear that the name change is the only residual difference and his ability to write critically acclaimed songs continues to reign.
Colin doesn’t seem to have the same stage presence as his previous support acts, but he does un-doubtedly deliver some beautiful and melodic songs suitably apt for the summer sun shining outside. With help from his fellow musicians taking to the keyboard, drums and bass, his acoustically led set certainly improves as the night progresses. The musicianship is clear and his talent more than apparent. Although I can’t deny that the crowd did slightly diminish as the evening was coming to a close.
Perhaps Colin MacIntyre would best be suited at one of our many summer festivals such as the Isle of Wight, where his performance would possibly be enhanced by the beating sun, a freshly lit BBQ and an ice cold beer.
Tonight Red Light Company undoubtedly stole the show. And with an up-coming Glastonbury performance you’ll definitely be hearing a lot more from the 5-piece.
Colin MakIntyre plays a Brighton on the 26th May, whilst Red Light Company play a headline slot at the Wolverhampton Civic on the 15th May.
Review - Frazer Lawton
Photos - Tom Horton
Shawn Smith @ The Medicine Bar, Birmingham - 6th May 2008
The first thing I noticed about Shawn Smith, as he took to the intimate stage at Birmingham’s Medicine Bar last night, was how much he looked like a young Dr. John who had forgotten to have a haircut in the last ten years. To be honest, it was probably the hat that emphasised the comparison, yet they both have their own unique and distinctive vocal style which means the listener can recognise them from the minute they open their mouths. Shawn Smith is the prolific vocal and creative driving force behind a number of bands over the past fifteen years or so, namely Brad, Pigeonhed and Satchel; however he is still seen as “Seattle’s best kept secret”. He released his latest solo album, ‘The Diamond Hand’, last month and has embarked on a mini tour of Britain, which has resulted in a sell out date in London. Unfortunately, Birmingham’s crowd were not large in numbers, yet they were large in appreciation with some people travelling all the way from Cardiff to catch the show.
The only instrument on stage was a keyboard set up, covered by a black cloth with a feather boa trim to shroud a wealth of tricks. Music was provided by Steve Gerrard, keeping the atmosphere suitably chilled whilst the audience wait patiently for Shawn’s arrival. As he entered, I realised just how personal this gig was going to be, especially after attending Nick Cave’s sell out show the previous night. Shawn Smith made the night informal, and it was more like a friend playing to a group of mates. Smith opens the performance with a version of ‘Amazing Grace’ accompanied with a selection of fantastical keyboard effects resulting in his joking that he can play no-handed! He proceeded to launch into ‘The Day Brings’, taken from Brad’s ‘Interiors’ album, which translated brilliantly into its broken down state. Throughout the gig, Smith adapted songs without fear of playing a discordant accompaniment and or singing an obscure vocal line, all with a wry smile on his face. Shawn Smith’s songs all have a haunting quality which is reiterated by his powerful yet unashamedly delicate vocals, and as he brought to our attention, most of his songs are about people dying which led him to dedicate a song to the late, great Layne Staley from Alice in Chains. 
The set progressed through tracks, old and new, despite a confession that there was no set list and Smith was playing songs he could remember. The interaction and banter with the audience continued encouraging us to feel a part of the performance and a closeness which you don’t get with many artists. The highlight of the set was ‘Screen’, which was heightened by the stark arrangement, and a cover version of Mother Love Bone’s ‘Crown of Thorns’ which was utterly mesmerising. Smith completed an awesome journey with a poignant ending, ‘Buttercup’, which resulted in utter silence throughout the crowd. For a well needed double encore, we were treated to a number of tracks starting with a cover of ‘Purple Rain’ and more of Shawn’s humour, ultimately segueing back to ‘The Day Brings’. For want of a better cliché, Smith had the crowd in the palm of his hand throughout the gig, because he is an amazing vocalist, talented songwriter, accomplished keyboardist and all round good guy. And a selfish part of me hopes he stays “Seattle’s best kept secret”, so I can keep seeing him perform in small, intimate venues. 
Review - Toni Woodward
Photos - Steve Gerrard
Academy In The UK @ Birmingham Academy - 4th May 2008
Kicking off at 12:30pm, Academy in the UK didn’t seem as busy as usual this year, but seeing as it finished at 2am, it was still very early on this drizzly Sunday.
Steve E Nix and The Cute Lepers kicked off the show; unfortunately not everyone had made it in before the set finished, the rest preferring to browse the merch stores, meant they didn’t draw a huge crowd.
Female fronted Dragster were up second. Hailing from Coventry, the local boys and girl managed to pull in a few more punters with their hotrod style. Lead singer Fi, strutted around the stage in a tiny red dress (looking a little like Bettie Page), and seemed to entice people away from the bar with her banshee-esque vocals.
New York Alcoholic Anxiety Attack a 3 piece from Bradford appeared next. Standing shirtless with a giant crucifix around his neck, lead singer Mik Davis looked more Jim Morrisson than Jonny Rotten. The majority of people had gone outside for a cigarette during their set, and after the lack of applause (and a small rant from Mik), NYAAA prompted more people to go and join the smokers. They played an ok set but after Dragster, didn’t really seem to fit in on the bill.
Fourth band on Deadline took to the stage next. Sounding like a punk rock Paramore, their too flame haired singer Liz, could really hold her own in a room full of fed up punks. With catchy songs and a brilliant stage presence, they were by far the best of the early bands, and even had the previously bored looking punks, pogoing around the academy.
That was until Drongos for Europe came on. It’s difficult to describe how brilliant these local boys were, but 5 minutes in to their first song, it began to feel like a punk gig. Tommy Drongo took to the stage like a man possessed. Adorned in a Contempt t-shirt, he paused to dedicate the set to Trog (bassist for Contempt and Police Bastard), who is sadly loosing his battle with cancer as I write this. Met with cheers from the ever growing crowd, it became clear that this wasn’t just any normal Academy in the UK; it was a tribute to Trog. Drongos lit up the room and injected the crowd with some much needed energy. Even with a few technical mishaps, it was Birmingham punk at its best. They certainly showed the previous bands how it should be done. 
64 year old Charlie Harper, front man of UK Subs proved age is definitely no object when it comes to punk rock, as the Subs took their place on the stage. With his boundless energy, he could have easily been mistaken for a man half his age. It was punk sung by an original punk, and as he pogoed around the stage it was obvious why they were adored by so many. 
Probably one of the most unlikely bands of the day were Spunge. They have been knocking around the Birmingham music scene for many years now and seemed a hit with the younger members of the crowd. Their ska punk sound wasn’t as well received by the majority, but their most popular single to date ‘Kicking Pigeons’ did draw some reminisant smiles amongst the slightly older audience members. Still, they haven’t really done anything spectacular since their hay day of a few years ago, and there were many loud comments of how they’d managed to get a higher spot on the bill than Drongos For Europe and UK Subs.
The Buzzcocks and The Damned headlined today’s event, and even though these punk classics played blinding sets, they were all out done by far by local boys GBH. As they set up on stage, cigarettes dangling from their lips, the Academy seemed fuller than it had done all day and than it would be for the rest of the night. As they began their first song, the stage was pelted with pint glasses, not out of disgust but appreciation. They tore through the set and the circle pit down the front was only for the brave. It was as if the whole day had solely been building towards them. Lead singer Colin dedicated a song to Trog, and for a moment there was a poignant pause amongst the madness, before the erupted fast and furiously into the next classic song. A mass of moshing Mohawks was all that was visible of the crowd, as Colin wound them up further by asking ‘Is this fucking punk rock or I’d do anything?’.
Anyone who believes that true punk gigs can only be held in dingy back rooms of pubs should have been here tonight. In true punk fashion, Colin’s announcement that they ‘would keep playing until they were kicked off’ was met with thunderous cheers that seemed to shake the academy walls. I did feel sorry for the bands to follow, including Mad Sin, who put on an amazing rockabilly show complete with light up double bass, as it was obvious most were here for GBH.
As they drew to a close, Colin invited everyone for a beer down to their Digbeth local, and to then set fire to the police station. As they exited the stage, so did a large portion of the crowd, suggesting maybe the organisers had picked the wrong bands to headline in Birmingham? Whether they did set fire to the police station I’m not sure, but one thing for certain was the day belonged to GBH. 
It was a really poignant day for Birmingham punks and all those who love the band Contempt and Police Bastard, with the sad news of Trog. I really believe everyone who played, especially the local bands did him proud today, it was just a shame he couldn’t be there to see it for himself. My thoughts go out to all his friends and family.
Review & Photos - Lucy Pryor
Adele @ Birmingham Alexandra Theatre - 4th May 2008
At the risk of perpetuating an absurdity, the words 'diva' and Adele have no reason to ever turn up in the same sentence. The 'D' word was jokingly invoked by the lady on stage - muttering that her tea was Earl Grey, and she doesn't like Earl Grey - but the likelihood of Adele ever throwing a flouncy hissy-fit doesn't seem very high.
I must admit, the BRIT School background made my cynical impulse flicker a little but there's something about Adele's scatty-yet-assured lack of self-consciousness that's utterly disarming. There's the talent too, of course. Not only can the girl sing; she can perform.
With her band arrayed on raised platforms behind her and a flashing sign above, Adele had a large expanse of the Alexandra Theatre's stage to herself. Typically, she apologised to us for not dancing around and making use of it all.
The setlist comprised the whole of debut album '19' as well as covers of The Coral's 'Dreaming of You' and Etta James' 'Fool That I Am' - both excellent although the former had strong shades of Mark Ronson/Amy Winehouse's Zutons cover.
For the most part the album tracks gained much from their live arrangements - the full band set-up breathing life into several songs that fell a little flat on record. That said, one of the highlights of the evening was a solo rendition of 'Hometown Glory', just Adele and her guitar alone in the spotlight.
Unlike some of her peers, and despite her background, there's little hint of her being overly stage-managed. At least, if someone had taught her to flap around excitedly and run in circles when presented with a 'happy birthday' sign I'd be very surprised.
Professionalism was restored, however - the chatty, down-to-earth charm replaced with a strong yet easy-going performance of 'Chasing Pavements' that made me forgive and forget it's teeth-grating radio ubiquity - and that's no mean feat.
Setlist
Right As Rain
Melt My Heart To Stone
Daydreamer (solo)
Best For Last
Dreaming Of You (The Coral cover)
Cold Shoulder
First Love
Make You Feel My Love
Tired
Hometown Glory
Crazy For You
Fool That I Am (Etta James cover)
(encore) Chasing Pavements
Review - Chris Unitt
Photos - Bianca Barrett
Vampire Weekend @ Birmingham Academy 2 - 2nd May 2008
Vampire Weekend's second ever British gig (or so the band told us) had been sold out for weeks so the venue was absolutely crammed with fans both young and old. This, however, raised the question about why the gig was not moved to the larger Academy space. If it had been then people would have actually been able to see the action on stage as a suspicious amount of very tall people made up the front part of the audience! Uncomfortable as I was, I did feel rather lucky to have my complimentary free pass to what was certainly the hottest ticket in town.
First up were support act White Williams. The band came on stage silently with no introduction. The guitarist wore a green coat with his hood firmly on....the only reason for this that I can think of is that it was either because the New Yorkers could not cope with what had actually been a hot day by Birmingham standards, or were paying tribute to the Gallagher brothers! When the band started to play I initially thought they were doing a live sound check but as the sounds built together and a simple bass drumbeat kicked in I realised that they had actually begun. The band at first created a very wide, synth based soundscape with the inclusion of what I believe to be known as a synth flute....think of the Gorillaz song 'Tomorrow Comes Today' and you might get what I mean. This long introduction I think phased a lot of the audience but when a more complex, rhythmic drumbeat kicked in with the vocals the band made a lot more sense and I began to warm to them a little. Performance wise however, the band did not seem to warm to the crowd until after a fair few numbers. The singer did not really make any kind of direct contact with the audience and sang to the side of the stage. In fact the entire band seemed totally absorbed in themselves. When the band 'warmed up' however, they seemed a lot more open to interact with the audience and made themselves seem a lot more likeable.
The general sound of White Williams is very much based around synth and effects. Reverb was used in heavy quantities on everything and a fast echo was often encorparated on the vocals which meant that when the singer did eventually address the audience, his words became inaudible due to the effects on his microphone line. I definitely believe that if the band relied less heavily on effects then they would appear to have more substance because with the amount they had the meaning of their music was unfortunately lost on me.
Vampire Weekend seemed to relieve the crowd when they came in. They was a eurphoric amount of cheers as they took to the stage. Immediately as they broke into their first song I felt the earth move (so excited were the audience that they began dancing after the first line of the first song was sung.) Lead singer Ezra Koenig had a exuded charisma from the first chord and had a brilliantly crisp clear voice meaning that you could hear every syllable that passed his lips.
The African music (apparently called 'afropop') that the group are cited to be inspired to create sharp rhythms perfect for dancing to and dance the crowd did. Their synth was used to create a variety of different timbres including harpsichord (M79) and flute (A-Punk.) The brightness of the clean guitar and bass sounds reminded me a little of the Beach Boys. Very inoffensive and incredibly catchy. 
It was also very evident that Vampire Weekend have a huge Birmingham fanbase. The band were very enigmatic and addressed the audience regularly. At one point they claimed to prefer our Birmingham to Birmingham Alabama, much to the delight of the crowd, who clapped along to nearly every song and despite a lot of them being rather intoxicated, listened patiently to the one song example of new material that the band decided to play. Their new song was more experimental with the synth, with singer Ezra putting his guitar down to sing and dance but it was instantly catchy and shows that Vampire Weekend are going from strength to strength. 
Audience favourites and set highlights included 3rd song on the setlist 'Cape Cod Kwassa Kwassa' and of course, former single 'A Punk' which had the whole crowd (I admit to putting my notepad away as well) frantically bobbing around in a mad mass of energy. This was brilliantly followed up by 'Blakes Got a New Face' to which the audience exchanged dancing for singing/shouting (the singing part was, to be honest, debatable!)
As I'm sure you will be able to tell by now; it was a great evening and next time Vampire Weekend visit, the larger stage of the Academy surely beckons. Get your ticket straight away.
Review - Frankie Ward
Photos - Bianca Barrett
Kill Hannah @ The Sanctuary, Birmingham – 1st May 2008
Tonight’s Kerrang Raw gig sees Kill Hannah return to a smaller venue, a setting they are much more suited to than at their recent main Academy appearance. With lasers flying off the walls and smoke machines filling the darkened room, the atmosphere is much more intense. However, the majority of the crowd are fairly young and with a complete lack of crowd surfing and a fair few parents dragged along, there is definitely a feeling of safety, which is never a particularly good thing at a rock show.
Singer Mat Devine frequently voices his appreciation for the band’s devoted fans, taking the time to look at the banners and messages that fill the front row of the crowd. Due to the absence of any support bands, the Chicago boys have plenty of time to play with, delivering the majority of 2006 release ‘Until There’s Nothing Left Of Us’ along with a few older songs. A slightly shaky cover of The Smashing Pumpkins’ ‘Cherub Rock’ is probably better appreciated by the parents in the crowd than the younger fans, however it is good to see a band acknowledging their influences and doing what they want, rather than what they think is expected of them.
For the well loved, ‘Crazy Angel’, Mat asks the crowd to ‘Tear the place apart’, yet aside from the usual jumping and screaming, the crowd fail to really give much of a response to his request, leaving security with nothing to do and The Sanctuary very much intact. Kill Hannah are enjoyable to watch live and have an interesting sound, however they are beginning to seem like the ‘safer’ alternative to other more recent bands such as Gallows and Mindless Self Indulgence who prompt far more rebellion and anger from their reasonably young fans.
Final song ‘Welcome To Chicago, Motherfucker’ is a welcome change to the usual set closer ‘Lips Like Morphine’, which finds a place slightly earlier in the set. This move works well with tonight’s crowd who even know the unreleased songs off by heart. The fans are given the chance to get even more close and personal with the band after the show as they appear to sign anything that is thrown at them and pose for endless pictures.
The incredible demand for tickets to tonight’s show highlights how popular the band are now becoming, making Mat Devine’s onstage statement ‘This is only the beginning’ seem like a very strong possibility for Kill Hannah.
Review - Helen Catchpowle
Photos - Lucy Pryor
