letlive. have announced their first full UK headline tour for October, 2013 with their new album set for release this summer.

Having enthralled rock fans across the UK with their various live performances, from their frenetic debut headline show at the Old Blue Last in early 2011, through their infamous Download Festival slot the same year, to supporting Enter Shikari, playing on the Kerrang! Tour 2012 and finally, winning over Deftones fans on the latter’s recent UK dates, letlive. are finally set to headline their very own 12 date tour of the UK and Ireland. And it’s sure to be worth the wait. The trek ends with a show at legendary rock venue The Underworld, the scene at which the band first played in London town as openers for Your Demise back in 2011.

As vocalist Jason Aalon Butler enthuses “We have always admired Europe for its music appreciation. Now we are being told that we are appreciated enough by Europeans to be a headlining act in our own right throughout the continent. Cheers, danke, děkuji, merci x googolplex. That’s ll.ove.”

letlive. will be releasing their hotly anticipated new album through Epitaph Records this summer. It follows the band’s much-lauded ‘Fake History’ and will herald a new letlive. era.

Tickets to the tour will be on sale 9am on 17th May.

03 Oct 2013   Bristol  The Fleece
04 Oct 2013  Southampton  Talking Heads
06 Oct 2013  Leeds  Cockpit
07 Oct 2013  Newcastle  Warehouse 34
09 Oct 2013  Manchester  NQ Live
10 Oct 2013   Belfast  The Limelight
11 Oct 2013   Dublin  Fibber Magees
12 Oct 2013   Glasgow  King Tuts
14 Oct 2013   Nottingham  Rescue Rooms
15 Oct 2013   Cardiff  Clwb Ifor Bach
17 Oct 2013   London  Underworld

For tickets visit livenation.co.uk or ticketmaster

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“I like Evil Blizzard, they give me hope that music is alive and kicking” - Mark E Smith (The Fall).

On the back of that accolade Evil Blizzard will bring their bass-drums-bass-and more bass and that theramin shaped like a baby’s head to the Hare and Hounds on 20th May supporting Bo Ningen .

Four bass players, a singing drummer and more sonic sounds than Hawkwind, this band needs to be seen. John Robb recently described the band as “unlike any other band on the planet” and another reviewer saying “Evil Blizzard need to be seen, words just don’t do them justice”.

Seen playing with The Fall in 2012 and 2013 by personal invite from Mark E Smith, expect incredible stage energy and extreme noise terror.

Already attracting attention inside the music industry due to their incredible stage show and sonic assault, Evil Blizzard will blow your mind.

They certainly impressed Kimon Daltas from The Arts Desk:

Support bands tend to get short shrift, but it would be criminal not to give Evil Blizzard their due here. Made up of three bass guitarists with assorted effects pedals and a drummer who also sang, three members of the band were in pink pyjamas and wearing masks, while the fourth was in black leather and a Hawkwind hairdo. They produced industrial levels of noise around steady riffs and a variety of filthy bass sounds.

One member removed his silver, robotic mask to reveal a scarecrow hood underneath, and a song later removed that too, only to be left with a third, featureless rubber face underneath that… the sheer commitment to the bizarre was nothing short of heroic. “This one is called Feed the flames” said the drummer and you thought, well yes, of course it is. For the last song – although “song” is hardly the right word – they were joined by someone in a boiler suit and pig mask who proceeded to stage-fight with one of them while the other produced a theremin in the shape of a doll’s head.

If it sounds like the Chapman brothers may have been involved, it is also fair to say that Evil Blizzard may be more eligible for the Turner Prize than the Mercury. In any other art form they would have a ring-fenced Arts Council grant.

Tickets are available here

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Grammy nominated and multi million selling three-piece Paramore are able to announce today that they will be returning to the UK and Ireland to play 6 shows in September 2013.  This will follow the band’s appearance at this year’s Radio 1 Big Weekend in LondonDerry/Derry at the end of May.

Hayley Williams (vocals): “We’re so psyched to come back the UK and Ireland and play the new songs for everybody. See you there!”

Paramore are set to release the single Still Into You on May 20th, this is the follow-up single to Radio 1 A-listed NOW and is taken from their self-titled fourth, Number One album which is out now.  The video for Still into You  (below) has already had well over 8 million views on Youtube, and the band performed the song on both Graham Norton and Radio 1’s live lounge in April.

Full UK & Irish dates are as follows:

September

Mon 2   The O2 Point                  Dublin, Ireland

Fri 20   Arena                                Manchester

Sat 21  Motorpoint Arena           Cardiff

Mon 23 LG Arena                        Birmingham

Tue 24 Capital FM Arena           Nottingham

Fri 27   Wembley Arena              London

Tickets go on sale this Friday (May 17) at 9am for the Irish show at Ticketmaster outlets nationwide and online at www.ticketmaster.ie, and all UK shows will be available via http://www.gigsandtours.com/Tour/PARAMORE

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What a week it has been in the UK. The sun was out and Nigel Farage gained seats in the local election, threatening to tighten up immigration and the legendary Sir Alex Ferguson retired after 27 years at the top of his game. You may wonder what all this have to do with Femi Kuti performing at KOKO in Camden to sell out crowd.
Well Femi, son of the great Nigerian Afro-beat musician Fela Kuti and like Sir Alex Ferguson passed the baton down to what the sceptics would consider to be a tough act to follow. But Femi Kuti learned from the best so I expected nothing but the best. Now on his seventh studio album No Place For My Dream, which is a heavily political album, carried off by the exuberant energy that runs in his vain of Femi Kuti performing high tempo afro beat fused with jazz and eclectic sounds. On the night Femi was playing an amazing four instruments at a highly proficiently level. This could be seen when he used his Clarinet to perform a feat reserved from the cream of the crop of Jazz music circular breathing that was met with thunderous applause.
Of the many gigs I have been to, the musicians tend to have to warm up the crowd, to set the tone of the atmosphere that they would like to maintain for the rest of the night. But from the get go the vibe and carnival atmosphere was set. The audience was like a fuel mob waiting for their casualty.
Fela was joined on stage by three amazing dancers who were gyrating their bodies to match tempos and every rhythm of the music; they made Beyonce’s infamous bootylicious look amateurish. They sang harmoniously as well as they danced. It was like witnessing an African Destiny’s Child, all in synch and very captivating.
As the night went on, it only got better and better, Femi switching instruments like a contestant juggling pots on an episode of Masterchef and, believe me, when I said he got the flavours right, all the favours in the right spots. Succulent, sweet and sour, when you understand the profound messages of his music. Politically no stone was left unturned, world banking crisis, poverty and corruption. If only politicians could be so coherent when communicating the serious issue that is currently blighting progress of the free world. He was simply a man on fire, Femi did his family name justice; it was a musical master class, culturally, socially and how to set a gig atmosphere.
This gig was in conjunction with Serious Live and I have come to expect nothing less in terms of the high production values of their featured artists. The really know how to put on a show. If the Queen’s speech on migration of highly skilled workers, coming into this country to work is anything to go by, it got no higher than that. As they say, “where words fail, music speaks” and Femi Kuti and his band certainly had a good word with Camden on the night.

Review by Chadwick Jackson

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Following their incredible sold-out gigs at The Rainbow and Warehouse, Birmingham Promoters are very excited to be welcoming back PEACE for a hometown show at O2 Academy2 on 27th April.

After announcing their debut album ‘In Love’, (“the best album we’ve ever made”) Peace embark on their biggest tour to date. Set for release through Columbia Records on 25th March 2013, and produced by Arctic Monkeys and Adeleproducer Jim Abbiss, ‘In Love‘ will be preceded by a re-vamped version of the outstanding ‘Follow Baby’ on 17th March.

The Birmingham four-piece have blown away critics and crowds alike with their forward-thinking musical mentality and they’ve been tipped by the likes of NME & The Fly as the best new British band. Previous singles ‘Bloodshake’, ‘Wraith’ and ‘Follow Baby’ have ruled the airwaves and their EP ‘Delicious’ rode high in end of year lists.

Debut album ‘In Love’ is set for release 25th March via Columbia records.

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When I first heard of this line-up I thought it was a tad odd. Bands from two different eras and two different generations of fans – the mighty Echo and the Bunnymen – once princes of the indie alternative scene of the early and mid 80s. And then, James, the kings of 90s indie dance anthems. Both had highs of success, under the radar and commercially. So this’ll be an interesting Spring gig at the O2 Academy.

So with this kinda double headliner, first act Echo and the Bunnymen, it’s an early start. As we arrive at 7pm, the punters are already arriving – the venue is filling nicely. Photo passes for photographers tonight initially had a ‘questionable’ ‘sign your life away agreement’ for James though this appeared to dissipate. McCulloch and his Bunnymen are fussier (I guess whether you think that he is entitled to be so or just plain arrogant). Photographers are only allowed to shoot from the side of the pit at the front of the stage and only for one song. If that wasn’t enough before they arrive on set, the stage is draped in a dry ice thick smog, and once the band appear, the lighting is minimal (atmospheric you know) and “in your dreams” are words that come to mind with any success of getting a near decent shot.

If you ask me to choose between James and the Bunnymen as to whom I’d listen to it would have to be the Bunnymen. I grew up with these guys, I saw them in their hey-day – at The Odeon – they were class. I know their likely set tonight, for any Bunnymen fan, is should be a delight. Though short, 45 minutes, you get the best from very early, classic indie hits, and then the later commercial sound.

First up with ‘Lips Like Sugar’ the band warm up halfway through the song. Then a treat – a duo of early tracks ‘Rescue’ and ‘Do It Clean.’ I’m in a time warp – taken back to the hours spent in darkened, stick floored goth indie clubs, meandering in the maze of the indie sound. McCulloch, as usual, with floppy mess of hair, is dressed in long dark coat and trademark blackened sunglasses. Like you’d change your image after all this time. “Alight?” he addresses the audience, to a positive response. “Me too…” he replies in his best Liverpudlian drawl.

Next up it’s the later commercial side, less angsty, including ‘Seven Seas’ and ‘Bring on the Dancing Horses’. The band are on form, the spiraling darkened class riffs are there  – I would love to say the set just gets better and better. But it starts to decline. The Bunnymen are visually the same throughout, they don’t do anything ‘exciting’ on stage – they are a band where it is the music that carries them – a ‘close your eyes’ and dance away type of band. But McCulloch is struggling vocally. While he has a unique voice, he’s off the mark. ‘Never Stop’ still remains the indie classic that it is, but he struggles to deliver. “This is the best song ever written” as McCulloch’s modesty prevails and we crawl into a somewhat painful rendition of ‘Killing Moon’. I worry; I know what the final track is – a track that, for me, would probably make my top twenty ever.  McCulloch introduces it as “…. the second greatest song ever written…” As the track starts it is indeed the classic ‘The Cutter’. McCulloch swigs from a tinny, obviously with some success, for this track, his vocals return. I had hoped, but for me, the Bunnymen of today are a shadow of their former selves.

Then we get a half an hour interlude. The O2 is sold out tonight, so we’re packed in like sardines. Booth and his ‘band that is not a person’ have a truly loyal fan-base, not in the manic screamy sense – but that of a close-nit community. Surprisingly, James were formed way back in ’82. This means they’ve been around over 30 years. After struggling for success and at times being totally skint, success finally came with the release of ‘Gold Mother’ in ‘90, with a subsequent series of hits. The most successful ‘Sit Down’, re-worked from its original ’88 version, made #2 in the charts in ’91.

Lead singer Tim Booth left in 2001 and returned in 2007 to tour and record new albums; including 2008‘s ‘Hey Ma’. In 2010, they released two mini EPs: ‘The Morning After.’ and ‘The Night Before’. And they’re still recording; new album may appear soon. There are indeed, new tracks tonight. In the busy O2 people are talking, the backing track before the band is on is indistinguishable, but has a tap and bass rhythm that starts to reverberate through the room. You can feel the atmosphere beginning to build. 10 minutes later than billed they appear to a very low key ‘Loose Control’ which starts with a guitar and trumpet before morphing into a jazz rendition. Chillin’ man. The crowd join in and welcome the band with a huge cheer – Booth claps the audience in acknowledgment – “Where is the love? Look’s like it’s here in Birmingham! One.Two… One. Two. Three. Four…” and we’re into ‘Waltzing Along’ as the crowd sing VERY loudly.

By track three – Booth can’t resist – he’s off stage in the pit and now on the railings – now standing on the railings, he delivers ‘How Was It For You’ – embarking at one stage into the audience. The megaphone is out for next song ‘Sound’ and he’ll be snake dancing.  Couple of tracks later, including a newbie, we get another “One.Two… One. Two. Three. Four…” and nobody it doing what the song title tells us to: ‘Sit Down’. (Fortunately there’s no sight of Peter Kaye plus red sofa). The crowd rolls and sings – we’re back in a sun-soaked festival field. The crowd take over: “Oh sit down, oh sit down, sit down next to me…” the band have stopped playing, the crowd are in charge as Booth conducts them. He’s a charismatic, articulate, yet serious and entertaining front man and this must be a pretty awesome feeling for any band. The crowd doesn’t just sing this – they OWN this – this is THEIR anthem. At the end, the crowd clap and cheer, both at Booth and the guys and themselves. For me, the standout moment of the night.

When you see James you can expect them to do a rolling set of songs. No single night is ever repeated. Last tour they had a rolling setlist of 54 songs and tonight is no different. On top of that members of the band are free to deliver tracks as they wish – so each song is always different. Do not expect the ‘single’ release edition to be performed, as Booth explains: “I’m proud to be in a band which changes the set every night – we don’t know what each other will do – we’re given the freedom to explore – maybe that’s why we’ve been going so long…” as he thanks the crowd for listening. One song may be laid back, another a dervish dance track – accompanied by Booth’s manic dancing. As the set goes on, the songs individually get longer, and longer, each one taking the slow build to riotous crescendo. ‘Born of Frustration’ – yet another that gets the crowd singing (and one that McCulloch, or a very good clone, pops out from backstage to watch). ‘Come Home’ – we’re raving. “You all gonna come to Manchester tomorrow night?” as we get invited to the next gig.

A regular downside at the O2 is the sound. It is not unknown to be dire. And while ‘Sometimes’ delivers and then some – the sound system ruins it – where we are it is just a dirge.  A quick break and back onto a dance version of ‘Sometimes’ followed by ‘Johnny Yen’ which includes acknowledgements to those “who died to entertain” – Winehouse and Cobain amongst them. I don’t know what Booth is on – but I want some – he’s still dancing frenetically. ‘Getting Away With It (All Messed Up)’ starts off acoustic and gathers pace into dance rave, followed by the classic ‘Laid’, in not so classic ‘freeform’, and again the crowd are louder than the band.

And then it’s over. A standing ovation from the balconies and full on adulation from the floor- the punters have clearly had one hell of a blast.

So thought’s on the night? Whilst some James fans probably wondered who this strange band was – McCulloch and his Bunnymen are currently out and about on the scene – they headlined Moseley Folk last year. They are, given tonight’s performance, in my opinion, a shadow of their former selves. I’m sure fans will go for it, but be warned; they don’t appear to be the band they used to be. Booth and James (is not a person) are a full on indie party band, Booth a charismatic and totally engaging front man, and they all love their unique relationship with the audience. If you have 45 nicker going spare – go take a look, make sure you have your dancing boots on. Be prepared to spiral dance on, and on, and on, and on and on, and on, and on…

Echo Setlist:

1. Lips Like Sugar

2. Rescue

3. Do It Clean

4. Seven Seas

5. Bring on the Dancing Horses

6. Bedbugs and Ballyhoo

7. (All My Colours) Zimbo

8. Never Stop

9. Nothing Lasts Forever

10. Killing Moon

11. The Cutter

James Setlist:

1. Loose Control
2. Waltzing Along
3. How Was It for You
4. Sound
5. Interrogation
6. Five-0
7. Say Something
8. Sit Down
9. Top of the World
10. Beefcake
11. Star (Full Up Version)
12. Moving On
13. We’re Going to Miss You
14. Born of Frustration
15. Come Home
16. Sometimes

Encore:

1. Johnny Yen
2. Getting Away With It (All Messed Up)
3. Laid

Review by Zyllah Moranne-Brown

Photographs by Ian Dunn

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Wouldn’t it be good to be able to pick the venues for the bands that you want to see? For Low this would be a room where you could get close enough to the stage and the band members so that you could experience the full emotion and the spirit (or that should that be spirituality?) that comes from the trio, but big enough and airy enough to encompass Alan Sparhawk’s flights of fancy and guitar distortions at the same time.

I have had the pleasure of seeing this band in several venues matching this description from the Union Chapel and the Barbican to cold damp churches. Before tonight I couldn’t really see how their music could be as expansive under the low ceiling and in the cramped conditions of the Glee Club. Firstly I needn’t have worried and secondly the band obviously didn’t worry; they like this place.

Alan welcomed everybody, thanked them for coming out and made a point of mentioning the venue and told anyone that was expecting a “change of scenery” they would be disappointed because this was their kind of place. This says a lot about the way they are, wanting that connection with the audience, turning up and doing their own stage prep and just getting on with it. Their shows are always understated and this belies the power and the impact of their songs.

Over the years they have managed to combine their own kind of indie sensibility with a way of communicating their faith so it isn’t blatant. At times it isn’t really that evident. However the latest album “The Invisible Way” seems to have changed this approach and lyrically at least their intent is a bit more obvious. This has made the songs more straightforward and more acoustic. That’s not to say that the subversive element has disappeared. The tunes such as Plastic Cup and Clarence White that opened up the set are sung by Alan and he seems to have taken the edgier role whilst Mimi Parker sings the steadier songs, those that are more hymn-like.

As usual we are not talking about tub thumping here. There is no preaching although its clear that their songs are all directly from the heart. People who don’t know the background of the band may not even know what is going on.

Certainly the audience didn’t know what was going on when Daniel Blumberg shuffled onto the stage plugged in his guitar and rattled off four tunes from his new Hebronix project. Over recent times he has managed to cast off the pop sensibilities of Cajun Dance Party, jettisoned the more ethereal approach of Oupa and only this month abandoned what looked like a promising career with the best 90′s band ever (©NME) by quitting as front man of Yuck. I’m sure people didn’t know who he was and didn’t seem to get what he was doing, although again if you knew his background the songs made sense, combining all three previous influences.

What he does is good stuff; simple vocals and guitar over pre recorded loops and tracks, but you have to wonder what is coming next. It’s as if he gets to a point where his ideas are fully formed and then he knocks it on the head and goes on to something else. I wonder who he will be this time next year?

This time next year Low will be Low. Alan Sparhawk seems to have his own outlets outside of the band through the Chairkickers Union label and the Retribution Gospel Choir, although the members of the side projects and Low seem to be interchangeable. The connecting link between all of these is the power of the live performance and how they can wind up the atmosphere as the songs go by. Maybe this is why they like the Glee Club. With the audience pressed up against the stage, in a sold out house meaning everyone is on each others laps, there was nowhere for that atmosphere to escape. When they got into the familiar favourites like Monkey, Sunflower and Witches you could feel what they were getting back from the audience. Unlike some Low gigs I’ve been to there was no background hub-hub and even the sound of glass-tic being kicked all over the place as people tried to move around didn’t upset anyone.

An enterprising bloke at the back got his encore request in just at the right moment with Alan jokingly referring to him in the middle of When I Go Deaf. After the usual rigmarole of Alan and Mimi whispering to one another they decided on the Dirty Three song I Hear……Goodnight to end with. Quite appropriate.

As usual with this band it was a great gig and the venue proved to be excellent but a bit more volume and expansive sound wouldn’t have gone amiss.

Set list:

Plastic Cup
On My Own
Holy Ghost
Clarence White
Monkey
Waiting
So Blue
Four Score
Witches
Especially Me
Mother
Sunflower
Words
Pissing
Soon
To Our Knees
————-
When I Go Deaf
Last Snowstorm of the Year
I Hear… Goodnight

Photos Stephanie Colledge
Review Ian Gelling

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As I sat down to write this, Frank Turner was playing on BBC6Music. If you haven’t been living in a cave for the past month then you too have probably seen his face on the pages of music magazines, TV interviews with him or heard his new single being played on numerous radio stations. He’s most definitely been on the PR offensive, heavily promoting his new album Tape Deck Heart which came out this week.

Last night’s O2 Academy date was sold out, and when I arrived the room was heaving and Larry And His Flask were playing. They’re an American punk/bluegrass band, suited and booted and very lively. What are they like? Imagine if Mad Caddies had babies with Mumford & Sons on drugs and gave them a double bass when they grew up – that’s what came into my mind anyway! If you like the sound of that then they are back in Birmingham next month to play the Hare & Hounds in Kings Heath. They played a short set that most of the crowd seemed to appreciate; but when Frank Turner tells his fans that the support bands are awesome and to get down to the shows early, the loyal following do just that and enjoy every minute of it.

Frank Turner somehow manages to divide opinion; some fans of his now defunct, heavier former band Million Dead accuse him of selling out and softening up and he catches flack for being an ex-Eton pupil, which, according to some, is just not punk. However, I think he has simply worked tirelessly on doing what he loves; writing, playing and doing a helluva lot of touring and finally that’s paid off. Last year he played at Wembley and took part in the Olympic opening ceremony – gigs don’t really get much bigger than that! He’s now not far off from playing his 2000th show and he’s still only 31 years old! As the years have gone by, the production values of the tours have risen, the band now even wear matching outfits but I just see this a more well-rounded, polished version of what they once were. Some say cheesy, but nobody in that room last night would agree.

He takes to the stage and the crowd goes crazy. The kids, and adults alike, hang on his every word and almost everyone seems to know every lyric to every song, even the new tracks that are played. Frank and his band, The Sleeping Souls, manage to cram 22 songs into the 1 hour and 45 minute set. One of the quieter songs is almost drowned out at the back by the boozy hubbub but Frank humbly thanks those at the front who could hear every softly sung word. It seems, though, that everyone is here to dance and sing and Frank famously encourages this. He seems to be the master of the sing-a-long anthem and insists on audience participation at any opportunity. He tells us stories behind some of the songs and most of us can relate to plenty of them. I think it’s this sense of equality and inclusion that is so appealing to the fans.

Personally, I prefer the slower more melancholy songs, but that’s just me. The stomping, upbeat, punky ones are the biggest hit with tonight’s crowd and he finishes the set with I Still Believe, the crowd are elated and he tells them they’ve won the accolade of best crowd of the tour so far.

Love him or loathe him, you can’t deny Frank Turner’s worked hard to get where he is. He’s taken what he’s learnt from bands such as Black Flag and Minor Threat – a fearless DIY punk ethic – blended this with his political beliefs, lyrics based on every day life experience and a real sense of fun and has created a winning formula for success. The new album however, does seem to have a slightly more American sound to it in terms of production, I just hope Frank remembers that he’s the ‘skinny half-arsed English Country singer’ that we all now know so well.

Review by Eleanor Lawton

Photographs by Steve Gerrard

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Washington’s Modest Mouse have announced a full UK Tour for July this year following a series of US and European dates.

Formed in 1993 in Issaquah, Washington Modest Mouse over the last decade have become the indie rock standard and one of the few bands capable of treading the narrow path where massive popularity is possible without sacrificing their long-time fans.

The band released their first full-length album, ‘This Is A Long Drive For Someone With Nothing To Think About’, on the Up label in 1996. With the release of their second album, The Lonesome Crowded West in 1997, the band’s status reached new heights with a legion of fans and critical acclaim. In 2000, Modest Mouse was signed to Epic Records and released their third album, The Moon & Antarctica. In 2004 came the release of their breakthrough album, Good News For People Who Love Bad News, which included the hit “Float On” and has sold over 1.5 million copies and earned the band two Grammy nominations

Modest Mouse released We Were Dead Before The Ship Even Sank, on March 20, 2007 and immediately entered the Billboard Top 200 chart at #1. Most recently the band released the EP No One’s First, And You’re Next and also reissued Moon & Antartica on vinyl.

July

8th Brighton Concorde 2

9th Bristol O2 Academy

11th London Roundhouse

12th Leeds University Stylus

14th Gateshead Sage 2 *

16th Manchester Academy 2 *

17th Nottingham Rescue Rooms

18th Birmingham Library *

*Tickets are £17.50 – http://www.gigsandtours.com/tour/modest-mouse/ 0844 811 0051

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Sometimes, just sometimes, an evening of live music can surpass whatever expectations you may have held previously. Elevating a listless Monday night from the doldrums of the working week and transforming it into an evening tinged with anticipation and revelation; realms usually only privy to that of the weekend.

The superb Matt Sheehan kicks off tonight’s musical merriment. Equipped with just an acoustic guitar and the occasional accompaniment from his violin-toting accomplice, Sheehan plays a heartfelt selection from his debut EP ‘The Alder Tree’. Much of Sheehan’s vocal delivery teeters around the upper echelons of his register, a style that can sometimes be viewed, when coupled with emotive lyrics, as creating a sense of false sentiment. Not in this case. Sheehan’s songs and performance are captivating and seem to go down well with the enthused audience members.

Next to grace the stage is Joe Banfi; the official support for Fossil Collective during their cross-country tour, and purveyor of the politest stage manner, demonstrated whenever subtle sonic adjustments are requested of the sound engineer. Joining the ethereal Banfi on this tour is Scott Barnett, who is relied upon to add layers of atmosphere to the enchanting tones circulating the room.

Banfi’s allotted slot sees him perform songs taken from his latest EP ‘Nomads’, which includes the impressive ‘Olive Green’ and ‘Oarsmen’. Huge credit must be given to Banfi, as it’s hard enough to approach a support slot in the hope of garnering favour with an audience that may never have heard of you, but Banfi not only engages the audience, he actually takes the room and transforms its DNA into something altogether different for that thirty minutes or so. Before we know it, the atmosphere is returned to the upright position and the stage is vacated in preparation for the main event.

Fossil Collective make a welcome return to the Hare and Hounds in support of their newly released debut album ‘Let It Go’. The Leeds based group take to the stage and immediately take things into the stratosphere. Every great band has that element unique to them, something that sets them apart from their contemporaries. Fossil Collective’s magical quality, in addition to great songwriting and superb musicianship, lies in the blend of their incredible voices.

Easily the standout performances are ‘On and On’, ‘The Magpie’ and title song ‘Let It Go’. As the band perform, I’m reminded of the scene from ‘Raiders of the Lost Ark’; when The Ark of the Covenant is opened, but instead of being greeted with ghoulish spirits whirling around the room, it is the scarily impressive and enchanting voices of Fossil Collective that weave there way through the audience.

This band is just so very good. Tonight’s performance would suggest that it is probably the last chance to get to see them in such intimate surroundings. Lead singer, Dave Fendick thanks the audience throughout for “coming out on a school night” and jokingly mentions that the album has charted at number twenty-two, beating Justin Bieber’s weekly sales. Such is the immediate impact of Fossil Collective that you could imagine it taking one performance on ‘Later…With Jools Holland’ to send sales of ‘Let It Go’ soaring, perhaps even surpassing Ant and Dec’s ‘Let’s Get Ready to Rumble’.

Photographs by Steve Gerrard

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