Candy Says - Live @ the Fallow Cafe Manchester

Julia Sophie Heslop’s reincarnation from brooding rock chanteuse, to 60’s tinged underground pop starlet is quite remarkable. To tinker with a successful recipe is one thing, but to throw out the cookbook altogether? Well fear not, evolution is a wonderful thing and this metamorphosis is doubtless one that Candy Darling herself would delight in.

Countdown complete, a brief nod to the Velvet Underground’s ‘Candy Says’ (source of the band’s name) and the Oxford quartet launch into ‘On the Radio’, which it’s certain to be should they choose to release it. Sugar coated harmonies, neat hooks, a touch of vocoder, sharp percussion and hats that put me in mind of Audrey Hepburn in ‘Two for the Road’; what’s not to like?

On introduction Candy’s sound appears stripped down and uncluttered. Yet scratch the surface and the songs glisten with tiny ideas like glitter on a child’s face. You get the feeling the shackles are finally off for Juju; there’s an excited smile on her face and  a sense from here on in anything goes.

The riff driven ‘Ta Robe’ snarls like a PJ Harvey meets Peter Gunn offspring, whilst Juju andElisa’s vocals trade blows. Amidst organ swells and Indian bells ‘Kiss Kill’ romps across the dancefloor and has the Ting Tings wishing they’d had such a weapon for that difficult second album. Not to mention it’s got handclaps, I’m a complete sucker for handclaps.

Single, and pop gem ‘Favourite Flavour’ blurs the lines between decades. The percussive intro is a dead ringer for The Ronettes ‘Be My Baby’, and I can’t help thinking that Phil Spector would love to have spent some studio time with Candy.  The lilting ‘Dead on Arrival’ is a sublime piece of writing, the second half of which, much like the Velvet’s, shows just how emotive two chords can be, as Elisa sings achingly, “ I just don’t know where I come from. I just don’t know where I can be found”.

‘Melt Into the Sun’ is a real earworm punctuated by a military cadence, and like the following ‘Dreamers’, a song that highlights the importance of Mike Monaghan and Ben Walker’s contribution to the Candy sound. Rhythmically-sussed, melodically literate, and economic in allowing JuJu and Elisa space to weave their spells.

To catch them in such intimate surroundings is a real pleasure, all be it one that won’t be repeated as bigger stages surely beckon. As they close proceedings with ‘Super Heroes’, you don’t have to be Peter Parker to sense Candy Says are something to Marvel at. 

The Lottery Winners - Manchester Academy 3

‘Time to put your prejudice aside ’

I’m glad I slept on it before putting fingers to keyboard to write this review. It gave me time to put Saturday night’s show into perspective and try to put into words why The Lottery Winners personify the definition of dichotomy for an industry paralyzed by the thought of risk, or perhaps just plain scared of actually having a really good time.

You see TLW are a pop band with a capital P.  They may have an indie underbelly but make no mistake this is pop music; and quite possibly the best pop music to come out of Manchester since Nigel Martin Smith cobbled together you know who in 1990.

(Yes I know they’re from Leigh in Lancashire, but let’s give our American readers a fighting chance)

The trouble is that pop bands aren’t supposed to look like The Lottery Winners, not as far as the British Phonographic Industry is concerned anyway.  Whilst for too cool for school indie fashionistas they represent what is likely to be a guilty pleasure, but oh what a pleasure. To all of the above I say it’s time to put aside your prejudice and give The Lottery Winners the great big hug they crave.

Tonight the band is in their element, surrounded by friends and converts as they deliver one sing-along after another, with frontman Thom Rylance conducting proceedings in his usual affable manner. As Rylance pulls the strings like a master puppeteer it would be easy to overlook Rob Lally’s deft guitar lines or Katie Lloyd’s considered melodic bass, the pair also providing faultless harmonies and counter melodies that cheer the soul. Imagine Berry Gordy had shaped The Smiths with The Housemartins on backing vocals and Prefab Sprout sticking their oar in at every opportunity and you’ll just about get the picture. Behind it all sit Joe Singleton’s drums, sharply executed and to my absolute delight containing no unnecessary clutter, just as it should be.

Current single ‘Learn To Sleep’, the wonderful, ‘Curtains’, ‘Artificial Flowers’ and ‘Something To Leave The House For’ are all received with open arms before the band are joined by ex Inspiral’s frontman Tom Hingley for a cameo performance of ‘This Is How it Feels’.

Rylance’s between song banter is both witty and  self-deprecating in equal measure. Yet,if I could change anything (and I'm still not sure I want to) it would be to put the limiters on, if only so the band could squeeze  a couple more gems into their set. After all, there are songs that fail to get an airing tonight that many a band would kill for. That said, I expect I’m in the minority here and both gut and head tell me it’s never going to happen so let’s move on.

As the a cappella strains of the timeless ‘Emerald City’ fade to the applause it deserves, the band quite rightly finish with the exceptional ‘Pillows’ (surely a single in waiting?) and we’re done. 

I’ve said it once and I’ll say it again; The Lottery Winners have songs stuffed with more hooks than a fisherman’s jacket. All they need is for a major label to grow some balls and put their hand in their pocket, the rest as they say will be...... Just imagine this year’s Brit Awards with The Lottery Winners in place of Tom (dull as S**te) Odell………Worth tuning in for I'd wager. 

'Learn To Sleep' is Out Now. Available from iTunes 

  

Kendal Calling 2012 review & video round-up

Set in the very agreeable surroundings of Lowther Deer Park, Kendal Calling is like no other festival I’ve attended. Bucking the trend that has seen many smaller festivals go to the wall, Kendal Calling seems to be going from strength to strength, increasing its capacity rather than throwing in the towel; it’s good to see.

FRIDAY

We arrive Friday morning and rapidly pitch our lodgings for the weekend before de-pitching and re-pitching having originally pitched in a no pitching area; phew, now that deserves a beer. Thirst quenched we make our way towards the sounds of “one two, two, check check” to find they’re not quite ready for us. A couple of calls to artists on the other side of the fence put our minds at rest that we’re not missing a note.

The Lottery Winners

Once the gates open we hurriedly make our way to the House Party stage to see The Lottery Winners kick off the festival in real style.  Their set of guitar and harmony driven indie pop anthems-in-waiting contains songs bristling with hooks and confidence. If you’ve not managed to catch this Leigh-based quartet yet then put it at the top of your to-do list immediately.  We will be featuring the band in more depth on Eartwister when the time is right.

A quick skip to the main stage to catch The Minx ply their spikey brand of punk infused mischief sees the band truly delighted to be making the step up.  This reflects in their performance which is probably the best I’ve seen them deliver to date, so job done then.

Despite the compact site and actually reading the map the right way up, we still manage to visit every tent before finally stumbling on the Chai Wallahs’ stage (it was where we came in stupid) only to discover we’d missed Jesca Hoop. We decide to stick around to watch Karima Francis, who today is joined by guitar and bass which adds depth of sound to her set.  Karima appears to be in a much happier place these days, and whilst older material still has the feel of a tortured soul , songs from her new album ’Remedy’ such as current single ‘Glory Days’ are tinged with more than a little hope, ‘Let's live today like tomorrow is over’

Off to the Calling Out stage for Hatchem Social who if I’m honest were a little lacklustre today. They probably weren’t helped by the fact that people were still making their way on site, but never the less they were missing a certain sparkle. The new material still sounds pretty good though, notwithstanding that every time I hear that guitar line from ‘I Look Like a God When You Dance with Me’ I leave singing The Eels’ ‘It’s a Beautiful Day’.

The Correspondents

Back on the main stage The Correspondents are doing what the correspondents do to great effect. Those familiar with frontman Mr Bruce were lapping up every second whilst newcomers must have been thinking fancy dress Saturday had come a day early. There is no denying that the man knows how to play a crowd, and ‘What’s Happened to Soho’ in particular goes down a treat.

Meanwhile The Lake Poets ,aka  acoustic singer songwriter Martin Longstaff  was entertaining an altogether more relaxed audience on the Woodland Stage, and pleasant enough it was too, if you like that sort of thing.

Back at the Calling Out stage it’s a poet of a very different kind in the shape of London MC Ghostpoet, all tripped out, dubbed up Hip Hop, like Portishead meets Dizzee Rascal for tea and valium.  We like it, but it seems at odds with the un-forecast sunny weather and more suited to a 5am meltdown.

Little Comets’ show on the same stage is the polar opposite, with guitar lines that would not seem out of place on an indie reworking of Paul Simon’s Graceland, considered rhythms and memorable backing vocals, all meaning they are not without charm. Despite splitting opinion amongst friends on the night, the Calling Out tent is near full for the first time today with the majority of those gathered inside buying in wholesale.

So to tonight’s headliners and here we find ourselves slightly torn between Maximo Park on the main stage vs Little Barrie on the Calling Out stage.  Having missed the opportunity to catch Barrie after the second day of Live at Jodrell Bank fell foul of the weather, we decide that it’s possible to do both. The plan is to take in the start and close of Maximo’s set with a slice of Little Barrie as the filling in the Maximo sandwich, sounds tasty.

Maximo Park

As Maximo Park launch into their set it becomes apparent that not all is well in the state of Kendal as the sound is painfully quiet.  It seems whatever limiters they have set on the mixing desk have strangled the power of current single ‘Hips & Lips’ and there is little sign of their grip loosening; so we decide to bring forward our schedule and head to the Calling Out stage in the hope the problem is rectified by the time we return.

No such problems here as Little Barrie is already churning out his dirty brand of old school R ’n’ B which is much heavier live than his recordings would suggest, almost Hendixesque in places.  There is no doubt that Barrie is a serious player and it’s easy to see why both Primal Scream and Paul Weller have made use of his talents. If he wants to make the step up from cult to a wider audience however, he may just be one or two hooks short.

We arrive back at the main stage just in time to hear the volume go up and Maximo kicking into top gear. As Paul Smith gives his trademark hyperactive Jack-in-the-box performance we have to confess to enjoying the experience a little more than predicted. ‘Our Velocity’ (great song) and set closer ‘Apply  the Pressure’ are obvious highlights as day one draws to a close, at least for us anyway.

SATURDAY

Despite their relatively young years the Travelling Band are by now festival veterans. They seem to have found their place in the great scheme of things and prove an ideal choice to open proceedings. They do what they do very well and whilst not everyone’s cup of tea, for those who over indulged on Friday night they are an affable introduction to another day in the fields.

We catch a few songs of Jack Martello’s soulful acoustic set which is pleasant enough before heading up the hill for Leeds’s own exponents of the dark indie arts  Wind Up Birds. Unless you subscribe to Paul Ackroyd’s somewhat grim view of life there’s not much we can recommend here.  It’s straight down the line indie rock delivered with little panache, with Ackroyd’s John Cooper Clarke style delivery stuck on top like a cheap glacé cherry; not for us then.

Little Roy

Back on the main stage Little Roy has young and old alike lifting their legs high to his sound-system Reggae. Rolling out early hits such as ‘Bongo Nyah’ alongside a smattering of Nirvana covers from his ‘Battle for Seattle’ album, only a fool would have bet on his set not being well received. There have been no shortage of Reggae acts riding the coat tails of others in a bid to cash in lately but thankfully Little Roy is not one of them.  His covers bring something new to the party (and party it is) with ‘Lithium’ in particular hitting just the right spot.

It’s up to the Calling Out stage once again to see Jake Evans (Bad Lieutenant) whose solo material has punch, melody and strong vocals, making it worthy of closer inspection.  His SJM rep seems concerned about the sound for some reason. I’d have been more concerned that the tent was near empty.

Elsewhere Dodgy are mixing up the old hits and new material but predictably it’s the likes of ‘Staying Out for the Summer’ and ‘In a Room’ that the punters  crave, although  the new material does  show they still know their way around a pop song . They also do a cover version of Frank Wilson’s Northern Soul classic ‘Do I Love You’, which makes for Dodgy by name and dodgy by nature. Consider yourselves told boys, don’t mess with perfection.  They save the day however, by closing the set with ‘Good Enough’, which it just about is.

Spector

Indie popsters Spector are next up and not for the first time we witness some sloppy playing by the London boys, with drummer Danny Blandy in particular seemingly having timing issues.  Never the less, the singles are fantastic, as is stalwart and soon-to-be-released set closer ‘Never Fade Away’, but you have to wonder if it’s going to be enough? They play another slow song halfway through the set which on this listening verges on the extremely dull. Do we spy a chink in Spector’s armor?

Actually closer to Penrith than Kendal we are less than 35 miles from Scotland.  So perhaps no surprises then, that The View have pulled the biggest crowd of the day thus far and without doubt they are loving it. To the party they bring uncomplicated songs with terrace friendly hooks and the ability to hit a chorus in six seconds flat (‘How Long’), not to mention an air that they couldn’t give a f**k. This, my friends, makes them a natty little festival act. Apparently the boys from Dundee also have a good line in stage banter but I can’t confirm this until I’ve located the appropriate translator. One question though. Why only fill 40 minutes of your hour long slot? I hope the Kendal team paid them appropriately. 

It’s been some time since I’ve visited Shed Seven’s back catalogue, and in truth I’d forgotten they’d released so many good songs. ‘Going For Gold’, ‘On Stand By’, ‘Disco Down’, ’Getting Better’, ‘Chasing Rainbows’, ‘She Left Me On Friday’ and ‘Dolphin’ are all present and correct and delivered with a swagger that made for a thoroughly enjoyable way to spend an hour. The band looked like they enjoyed themselves too.

When it came to tonight’s headline slots we’d already made the decision to go with Tribes over Dizzee Rascal on the main stage, not because we have no time for Dizzee but rather because we’ve yet to catch the acclaimed Camden four piece live.  However, they’re running a little late on the Calling Out stage which gives us ample time to watch Dizzee crank it up to fever pitch before we leave, and crank it up he does. There’s nothing quite like watching thousands of music fans jumping in unison, and as Dizzee puts new song ‘Bassline Junkie’ through its paces it makes for a wonderful sight.

Tribes

It’s a shame to leave Dizzee who is clearly firing on all cylinders but our final trip up the muddy slope is not in vain as, Tribes are busying themselves in discharging what will surely turn out be  one of the sets of the festival. Familiar songs such as ‘Sappho’ are feeding off a new energy and dispensing a liberal sprinkling of fairy dust to which it seems no one present is immune. The band is off to America in the morning to start work on their second album and tonight has the feel of a final celebration before the work begins. The new songs on show sound pretty strong too, so we can only hope our American cousins don’t suck the soul out of them, polishing to the point of disintegration as is often their want.  Back in the now ‘when My Day Comes’ fizzes as if trying to escape the confines of the tent whilst ‘We Were Children’ ignites, stamping  giddy grins on all around me.

As we make our way back across the site we decide to take in a late set by one of the hardest working live bands around, and one whose live show has gained them a reputation for always delivering the goods, we’re talking about Dreadzone. The south London exponents of dancehall reggae may have been around for an age but they do little to diminish that reputation tonight, and have the Chai Wallahs’ tent (which is bursting at the seams) skanking into the wee hours.

SUNDAY

Sunday begins with no little confusion amongst the healthy crowd gathered in front of the main stage, as it seems lightning has failed to strike twice. Firstly the forecast electric storms have thankfully not materialised but less thankfully, neither have Ian Broudie’s Lightning Seeds. As disappointed punters are still  digesting the news, Yorkshire three piece Mexanines shuffle on stage and it soon becomes clear that their riff laden blues- infused indie is found lacking and fails to galvanise. The Arctic Monkeys or Black Keys they are not, and despite Graham Coxon hand-picking the trio to support on his recent Manchester show, we’re less than impressed and move on.

Given an unforeseen gap in our schedule we take in a few songs by Devon singer-songwriter Ryan Keen (not long off supporting Ed Sheeran), his acoustic sway making for pleasant listening whilst his guitar playing on ‘Thank You’ is something to behold.  Back up on the Calling Out stage The Hummingbirds’ modern take on skiffle meets Mersey Beat harmonies is being well received, whilst a speculative stroll up to the Woodlands stage to see what Stephen Langstaff has to offer is less than rewarding.

Twisted Wheel

Back on the main stage Twisted Wheel are greeted by their fiercely loyal fans and fire their way through a set that includes  a smattering of new material (destined for the new album due in November) and fan favourites alike. They’ve not gigged for a while so I imagine this was just what the doctor ordered.  The chants of “Wheeeel, Wheeeel” would suggest so.

The soundtrack for lunch is the comedy folk of The Lancashire Hotpots, who are conducting pantomime proceedings from the main stage to the amusement of all. If I tell you that album titles include ‘Never Mind the Hotpots’, ‘Achtung Gravy’ and ‘Hard Days Pint’ you’ll get the picture.

We Are Scientists

We Are Scientists are not quite at their best today, but in truth they don’t have to be. That’s the beauty of Kendal Calling. There is a real willingness for all the artists to succeed, and if you need a lift there are thousands of willing helpers on hand. The noise that greets early single ‘The Great Escape’ and the sing-a-long that follows typifies the festival’s spirit.

The same could be said for Inspiral Carpets’ set which they seem to make very heavy weather of. The Hingley vs Holt debate becomes moot as the overall performance seems clumsy, sluggish, at times even slapdash. To be fair this is not lost on the band and sees Holt tweeting ‘Not our best gig today but a brilliant weekend overall at Kendal’. So perhaps just an off day, we all have them after all.

No such problems for everyone’s second favourite team and our penultimate act Feeder, who not for the first time are right on the money. It occurs to us that we’ve never actually been to stand alone Feeder gig before, but rather just caught the band at numerous festivals over the years.  It also occurs to us that ever reliable, we’ve never seen the band turn in a poor performance and nothing changes here today.  Flying through what is best described as greatest hits set it all seems so easy for the Newport boys.

Tim Booth - James

And so to festival closers James, who bait and tease as they slowly turn up the heat, warm, simmer and finally bring to the boil.

First things first though, James sound great tonight and Booth’s vocal is far from past it as some have suggested. Indeed Booth possesses a skill that eludes so many singers who are content just to hit the right notes, you believe him when he sings.  He’s not without support though, as James as a band have mastered dynamics, and use them to their fullest to swell and contract at will.

‘Johnny Yen’ poignant, ‘Sometimes’ joyous, and ‘Laid’ triumphant. If anyone had their doubts that James could pull this off, then they were firmly put in their place tonight. It’s a fitting end to a wonderful festival, in a wonderful setting. Now all we have to do is pin down the organizers for an interview.

Below is a video of our  time spent at Kendal Calling, enjoy

Daytona Lights - The Imogen Styles - Live Review

The folks at Designer Magazine have put on some fine gigs in recent days and we managed to catch Daytona Lights and The Imogen Styles at Dry Bar and the Roadhouse respectively on what proved to be a busy weekend.

We didn’t set out to see Daytona Lights on Friday night, but a mixture of fortune and good timing meant being able to catch the majority of their set whilst in-between other gigs, and we’re glad we did.

As Dan Lawrence busies himself making the cramped stage his own he reminds us of a young Ricky Kaiser, punching air and fashioning a performance deserving a bigger stage to give it on. However that’s where similarities end as musically they bare little comparison.

If we’re looking  for reference points they’re reasonably hard to pin down, but if you’re old enough think  perhaps ‘Oblivious’ or ‘Walk Out to Winter’ by Aztec Camera, played by an early Maccabees. The multiple vocal harmonies are a delight and used to great effect throughout, and at their most punchy put us in mind of Dexys, that’s with his Midnight Runners not without.

So what does this all amount to? Well in short, it amounts to a band that play sharp and sassy indie guitar pop and in doing so deliver it with more than just a little style. When revered record producer Steve Levine has been seen helping you carry your gear, you know you must be doing something right.

So there you have it. We liked what we heard and shall be looking to catch the full set at the earliest possible opportunity and more importantly when we’re not so rushed.

As a final passing aside, we must be the only site in recent months to have reviewed the band without mentioning bloody Hollyoaks……………Ohhh bugger.

Unfortunately we miss the support acts on Saturday, arriving just in time for headliners The Imogen Styles, note to self; must be more punctual.

There’s much to admire about how The Imogen Styles go about their business. Without doubt they bring a certain panache to their brand of electro pop, including a strong sense of image, sexuality and real showman/womanship. The music is none too shabby either.

With influences all but tattooed, the likes of Human League, Pet Shop Boys and Heaven 17 are all present and correct. Although often with a dark under-belly there is no denying this is pop music. The problem with pop music is it lives and dies by its hooks, and whilst there are lyrical barbs a plenty on show tonight, at times I’m left wondering if the melodies are strong enough. I’m crying out for simple descants of, “Brother, sister, we don’t need that fascist groove thing”, or the addictive refrain of ‘It’s A Sin’ or ‘Love Action’. If given this I would sign up whole heartedly to the Styles manifesto and be happy to do so.

In Syma, The Imogen Styles have a sultry secret weapon; a femme fatale that used to her full potential could be devastating, in Styles, a natural frontman with a sense for the occasion. They have an eye for detail, and for two people and a laptop they know how to put on a show. Just give us the hooks and you may well be home and dry, something that this summer, is not to be scoffed at.

We at Eartwister will certainly be keeping a close eye on proceedings (or should that be ear) and will undoubtedly be going back for seconds. I bet they can almost taste it.

Dresden - House Of Three Hands - Super 8 Cynics Live Review, Longevity Records Showcase

It’s been a busy couple of weeks and with festival season still in full swing we can see no letting up in a demanding schedule. This weekend however, I took a look at the Scottish weather forecast and promptly passed on my T in the Park duties to someone who actually owns a pair of wellies. Instead Eartwister chose to stay at home in sunny Manchester and take in six bands starting with Dresden, House Of Three Hands and Super 8 Cynics at the Longevity Records showcase, Night & Day Café.   

Way back in February we reviewed a couple of tracks by Dresden and very fine they proved to be too. So why has it taken us so long to follow it up with a live review, well the answer in truth is simple, they just don’t play live that often. Tonight however, they are forced to stick their collective heads above the parapet in support of the release of new single ‘Fibua’.

Opener ‘Shadow’ (as set list) is sparse and beautiful with lilting piano and Ryan Magee’s vocal almost introspective as it gently draws you in. It’s difficult not to make comparisons with local heroes Elbow, but think also Radiohead when Yorke and co are not trying to bury all semblance of melancholic melody which once was their stock and trade.

Dresden, like both Elbow and Radiohead, clearly take a great care when constructing their wares, each song layered with subtleties and subliminal hooks that underline that this is far from their first time round the block. Their use of dynamics is equally skilled taking you from the faintest of whispers to a full on cavalry charge. At times the sound is so big it’s only rivalled by some of the waistlines on show. Ok, it’s a cheap shot, but as we more than alluded to in our last review they are hardly a marketing man’s wet dream and the live show could benefit from some fine tweaking too.

That said, they write good songs (that’s the hard part right??) and Longevity as a label deserve praise for giving them some sort of platform from which they’ll hope to progress.

‘Enough Is Never Enough’ is strong tonight whilst the anthemic ‘Black Cloud’ also rises to the occasion. They close the set with new single ‘Fibua’, a bass and synth driven slab of what could only be described as electro indie disco, all rippling hi-hats and four to the floor like a brooding Pet Shop Boys on a cocktail of steroids and valium.  I’ll leave you to get off your arses and discover for yourselves whether that’s a good idea or not.

Longevity’s first offering this evening is House Of Three Hands, purveyors of indie guitar shenanigans, the Cumbrian three piece recently relocated to take up places at university and ply their trade in the state of Mancunia.

It’s early days for Messrs Brown, Wedgwood and Annis but there are certainly signs of promise. In particular Wedgwood’s guitar playing, all chops and syncopated riffs, is delivered like a whirlwind, propelling the songs forward as if his life depended on it. They have a slight feel of a stripped down Foals about them, perhaps a touch of Tokyo Police Club and modest Mouse too. The first release with Longevity is ‘Trepidation’ (August 6th), which if a little tentative tonight is still a step in the right direction. Brown’s vocal is clean and there’s testament to thought in his lyrics, but we’ve never been quite certain about bass playing front-men at Twister HQ and here the arguing begins.  It seems to us that too often one discipline suffers at the expense of the other and that’s rarely a good thing. That doesn’t mean to say that House of Three Hands are condemned in our eyes, far from it. It does mean however, that the jury is hung, at least until all the evidence is in.

Tonight is the first time we at Eartwister have faced an age old reviewer’s quandary. You see we know the boys at Longevity Records and fully support them and anyone that in turn supports new music; it’s the worthiest of causes. There is also the fact that the cooperative of Eartwister’s mothers have been relentlessly tweeting that ‘If you can’t say anything nice then say nothing at all.’ These are of course fine words, and advice that in the normal scheme of things we would follow to the letter. The dilemma lies however in the promise we made our readers, a no holds barred experience, the truth as we see and hear it, with no exceptions.  So there you have it, to listen to mother and break our own rules or to uphold the Eartwister doctrine and bugger the consequences?

Sandwiched between House of Three Hands and Dresden tonight are four piece electro new wavers Super 8 Cynics.  Firmly steeped in a latter-day Duran Duran mould there’s nothing particularly offensive about Super 8’s music per se, it’s just impossible to take them seriously.  Indeed, on tonight’s showing I’m not sure if they take themselves seriously.

In Jack Ellis (bass) and Paul Barlow (drums) they certainly have a rhythm section that make all the right noises, but then the lines get blurred.  As vocalist Ady Hall strikes a succession of poses more fitting to a festival headline slot or a Depeche video set, I can’t help but feel a little embarrassed as he urges the meagre gathering to raise their arms aloft and clap along, not for the first time.  Yet he’s far from alone in the over-blown gesture stakes, as keyboard player Mike Healey seems unable to keep his non playing hand from shooting skyward looking as if he’s waving to his mum in the back row. A keytar solo is not long in coming, assume the ‘Slash’ like position, and I find myself edging closer to the door. Then there’s the new single, a cover version of Seona Dancing’s ‘Bitter Heart’.  Now if that in some way sounds familiar to you, it’s because the original was sung by a then unknown Ricky Gervais back in 1983, and has since been wheeled out on numerous chat shows for the sole purpose of mirth. London Records could only drag the song to 79 in the charts first time round so what possessed them? The fact that it takes them two attempts to get it right after losing sync with the backing track is neither here nor there. So come on boys, ‘Please please tell me now is there something I should know’?

At this point we would like to apologise to the Eartwister mums but rules are rules after all. 

Stone Roses - Heaton Park - Fri 29th June - Live Review

On May the 27^th 1990 the Stone Roses and 28,000 of their fans took over Spike Island for their now legendary gig on the Widnes peninsula. If you speak to any Mancunian music lover of a certain age this weekend they will tell you to a man or woman they were there. In truth fans had travelled from all over the country and beyond, I know this because we had a house full of them. The day was hot and sultry, with a mixture of dust and chemical smog hanging in the air that gave everything a faint orange hue. Never had I then, or have I since, seen so much open drug taking at a gig and by the time the band took to the stage the site was littered with casualties, there’s little wonder the 90’s Woodstock tag was attached. Unfortunately, the biggest casualty was the sound.  A great happening it was, a great gig it wasn’t, tonight the Roses have a chance to 

put that right.

At eleven minutes past nine the waiting is finally over and instantly it becomes clear that the Roses will not fail tonight. The reason?  Because 75,000 people won’t allow them to, because 75,000 disciples have paid good money to see a triumphant return and that’s exactly what they’re going to get, come hell or high water.  

The noise that greets the opening bars of ‘I Wanna Be Adored’  is only superseded by the volume of the mass communal sing-along that follows, if there’d been a roof on Heaton Park there’s no doubt it would have come clean off. So loud they sing that 'Mersey Paradise', 'Sugar Spun Sister' and 'Sally Cinnamon' have all passed before 'Where Angels Play' conclusively gives us a chance to hear Brown’s vocal, complete with all its usual frailties.

Tonight is a celebration of all things Mancunian, and Manchurian, American and Canadian judging by those dancing around me.  And no, they’re not press before you ask, but fans that have flown in just to be here at the first night of this long-awaited weekender. 'Bye Bye Badman', 'Shoot You Down' and 'Ten Story Love' Song are all met with similar adulation by the jubilant congregation before Fools Gold gets a full physical workout, showcasing exactly why a Roses reunion without Alan John ‘Reni’ Wren was utterly unthinkable.

Squire’s guitar is at times peerless, with 'Love Spreads' and the above 'Fools Gold' emblazoned with Zepplinesque flourishes, whilst Mani’s bass (if on more than one occasion overwhelming) punches, drives and binds a band in a way you feel no other could do. There is no question they are very fine musicians.

'Made of Stone', 'This Is the One' and 'She Bangs the Drums' remind you, if any reminding were necessary, how astonishing that debut album is; and yet, I still have a faint yearning inside of me that's hard to shake.

It was a chaotic set of events that brought me to Manchester in 1989, but that said, the timing could not have been more sublime.  I arrived at the birth of something special and watched it explode into an unexpectant world, and like many in Manchester at the time I invested wholeheartedly into the band before me now. More than anything  I wanted tonight to be perfect but given the band’s erratic performance history it was a foolish notion at best, underlined by Brown’s errant (if predictable) delivery of 'Elizabeth My Dear'.

But to quibble tonight is not only petty; it’s an exercise in futility. Tonight is not about all the right notes in all the right places; it’s not about a pristine sound. It’s about family, it’s about being part of the biggest gang in town, It’s about a ray of laser beam light in otherwise difficult times, and who can argue with that?

The fact that we’re stood here today is a minor miracle in itself and in part at least, testament to the enduring power of great music and fantastic songs.  As Brown prowls the stage with a trademark swagger aped by many but perfected by none, he’s within his rights to feel at home. At times he even allows himself time to smile and enjoy the moment. “As you can see, we’ve still got it” is one of his few utterances on the night and it’s hard to disagree, despite not knowing exactly what ‘It’ is. There’s a touching moment as he embraces Squire mid set, perhaps dawning on him exactly what they have achieved here tonight, perhaps as a final expression of reconciliation complete.

As the 11 o’clock curfew comes into view it dawns on those unfamiliar with Roses shows that there will be no encores and there is only one song remaining that could possibly close the show. As Reni pounds out the unmistakeable opening rhythm of 'I Am the Resurrection' the long pilgrimage is complete, and once again a united body of 75,000 are sent into rapture.  Not since the Pope’s visit in 1982 has Heaton Park witnessed this level of worship and it’s hard to imagine it will do again, at least until tomorrow night. It’s the crowning glory on a night that whilst not perfect still delivered exactly what it promised. As the conquering heroes take their bow and fireworks prepare to light up the night sky, the last word goes to Mani. “Wot’dya think of that, not bad for a bunch of old c**ts.

Jodrell Bank - Elbow - Field Music - Cherry Ghost - Lianne La Havas - Willy Mason

Until recently Willy Mason had been somewhat off the radar. So much so in fact, that even the mighty Lovell radio telescope that dwarfs the stage below would probably have had difficulty in detecting what he’d been up to for the last five years. We now know for some of that time he’s been working with Hot Chip producer Dan Carey on material for his third studio album which should make for some very interesting results. Today however, he takes to the stage solo, just one man and one guitar. A set-up that many feel best showcases Mason’s undoubted talent.

The new material sounds as accomplished as ever, with Mason’s voice wrapping the sound of plucked guitar in a warm distinctive glow. First taster from the forthcoming album “Restless Fugitive” sheds some light perhaps, on where the alternative country folk troubadour has been, as he sings “Tell us how they brought you down, and why’d you let them hang around? Tell us when you left the earth, and promise next time you’ll call first. Oh you restless fugitive”.

Older material such as ‘Oxygen’ still captivates of course, but there is also a sense that Mason may have matured in his absence. If I have one criticism today, it’s that the set lacked any real change in tempo. That said, it’s only a trifling gripe and I for one am more than happy to welcome him back into the fold.  Time will tell if Mason’s wish to be cooler than TV will reap the dividends to which he aspires, but if he sticks around long enough surely a larger audience awaits.  Contemporary Johnny Cash anyone?

All today’s support acts have been hand-picked by headliners Elbow, and next up is critically acclaimed songstress Lianne La Havas. Cut from similar cloth to Corinne Bailey Rae and Norah Jones, La Havas’ vocal is sultry (unlike the weather) and faultless in its delivery. Such is the ease with which each note is dispatched that it’s hard to imagine her ever breaking a sweat. Her ability to shift between soul, R ’n’ B and even jazz is evident and sure to stand her in good stead. So much so in fact, that it’s difficult not to see her stock rocketing soon.  With a host of festival appearances this summer, and her debut album ‘Is Your Love Big Enough’ set to add to the momentum when released in July, odds are shortening on Lianne becoming a household name by Christmas.

   

Having been around for slightly longer you’d think that Cherry Ghost would feel at ease performing so close to home, but it seems not as he announces “This isn’t daunting at all” with no little irony. He needn’t have worried of course. Flanked by keyboards and electric guitar he performs stripped down versions from his back catalogue including ‘People Help the People’ and the brilliant ‘Mathematics’ that comfortably sees him through the occasion.

Last up before the main attraction are Sunderland’s Field Music. Despite being four albums into their career (not including various solo projects), I think it’s fair to say that the majority of the partisan Elbow crowd are still largely unaware of the Brewis brothers’ music, so what better time to introduce them. FM are not an easy band to review at the best of times but with a science arena  just a stone’s throw away, today they almost make perfect sense. With arrangements that border on orchestral if not scientific in complexity, they still manage to make pop music with sharp edges and defined melody, think perhaps XTC to give you some kind of reference.  

They may well be pop’s answer to Doctor Emmett Brown (Back to the Future) in a slightly eccentric inventor’s kind of way, and like the Doc they are strangely likeable.  I have to confess I find the band most enjoyable when David Brewis is at the vocal helm, not that brother Peter can’t sing, far from it; it’s just a personal preference.  Today, as they rattle through gems and oddities alike, many from their most recent offering ‘Plumb’, I’m certain I can feel Elbow’s masses warm to them. How many converts, it’s hard to say, but they certainly did themselves no harm at all.

All day long the assembled throng of Elbow devotees have much like the telescope been looking to the heavens, which for the most part have resembled a Dulux swatch sample for the colour grey.  Ominously nature’s palette darkens a shade or two more before the unmistakeable tones of Mr Garvey boom from the PA; “Elbow to control room. Align the telescope”. As the 292 ft structure turns to face the audience, Elbow take to the stage.

Now it’s seriously hard to imagine a band more suited to a setting, or a setting more suited to a band. So it may just be the misty-eyed romantic in me, or the fact that to a man they looked as if all their Christmases had come at once, but Elbow are simply glorious tonight.

The rain that had threatened all day made its first real, and as it turns out lasting appearance as ‘Grounds for Divorce’ flexed its hook laden muscles and came close to blowing it back from whence it came.  ‘Lippy Kids’ is utterly beguiling, whilst ‘Leaders of the Free World’, title track from the criminally under rated album shows exactly why it’s worth revisiting. By now the telescope had become an immense canvas on which to project stunning visuals and any worries about Manchester’s preferred weather conditions had long gone.

Elbow have at their fingertips a body of work that deserves a stage like Jodrell, but more than that, they have a front man in Garvey that can not only play the big stage but at times lend an intimacy to proceedings that is nothing short of enchanting. If anyone present was in any doubt then tonight’s rendition of ‘The Night Will Always Win’ is proof positive. The band even takes time to raise a glass and toast the arrival of Nancy Anne Potter; Craig and Mrs Potters’ latest addition to the family.

There are no prizes for guessing with which song they chose to bring events to a close, but if ever a lyric rang true ‘One day like this a year will do me right’ was surely the only way to end. If Elbow missed one trick tonight, it was not to project the sun on to the giant telescope, but then who knew it would rain, right? 

So there you have it. If you’ve not been to a gig at Jodrell Bank then I heartily recommend you do so, though it’s hard to imagine you’ll witness a better one than this.

As an unwanted footnote to this review, we’re sad to say that persistent heavy rain set in overnight and put pay to Paul Weller’s show the following day, despite all the best efforts of everyone involved. We at Eartwister were gutted by the news as I’m sure were all ticket holders. Not only did it mean missing out on another great day of music, but being able to watch England crash out of the Euro’s with their 5^th consecutive penalty shoot-out failure. BUGGER!     

Jubilee Weekender Part 2 ( The Whitehaven Files) The Charlatans - The Enemy - Simon Townsend

Waking up in Morecambe we find the rain we had left behind us the day before had finally caught us up. As we head further north to the Whitehaven Festival I couldn’t help feeling just a little for the locals we were leaving behind, as they attempt to break the record for the longest street party on a sea front now sodden by the fickle joys of an English Summer.

We arrive in Whitehaven as guests of Leigh-based four piece The Lottery Winners, who join Simon Townsend (brother of The Who’s Pete), The Enemy and headliners The Charlatans for what should be a great way to spend a Sunday.

As it turns out, the day starts with a case of mistaken identity, as members of the crew believe me to be the aforementioned Simon Townsend. I briefly suggest where they should stick the drum kit before coming clean, well; it doesn’t do to start off on the wrong foot does it. Little was I to know however, but this was but a minor blip in comparison to what was to come.

Regular festival goers will know all too well that there is more than just music on offer at such events, but for those who are not familiar with Whitehaven Festival, let me paint you the picture,

The festival is set in the not unattractive marina area of the town. The main arena (fenced off for paying gig-goers only) is at one end of the harbour, whilst outside, a series of stalls, fairground rides and smaller performance spaces stretch the length of the marina. These attractions are open to all, and with the rain holding off the turnout is what you’d expect on a long bank holiday weekend.

I’m at the far end of the site when my phone goes. It seems festival organisers had made a late booking of Dynamo ‘Magician Impossible’ to the stars, to walk among the festival crowds doing his thing.  Now it strikes me that someone had not quite thought this through. With stalls on one side, a sheer drop into the sea on the other, and a world famous magician performing in-between, it took about five minutes before someone cried health and safety, and the answer??? Let hundreds of non-gig paying punters into the main arena during sound checks to watch a close up magician where there are no cameras and no big screens on offer.

The result was sound checks grinding to a halt and The Lottery Winners, our hosts for the day, being bumped from the bill due to time restraints that hadn’t existed a mere 30 seconds prior . Having turned down the main support to Razorlight at Osfest to do the show, not to mention travelling near on 200 miles to play, the band I’m sure you’ll understand were not best pleased. In the blink of an eye chaos had ensued, two members of the band had been escorted from the site by the Police and the organisers had gone into hiding.

In the midst of all this, staff from food stalls in the marina were screaming that they’d put their entire days stock of meat on the grill only to see the crowds disappear, crew and engineers are pulling their hair out, The Enemy arrive, oh, and there’s a small man doing some magic who is none the wiser.

Now I’ve been to some badly run gigs in my time but this one is right up there with the worst of them; piss-up and brewery naturally spring to mind. It’s at this point, in an effort to calm the band that someone announces that they’ve only sold 400 advance tickets to the show, and those from The Lottery Winners Cumbrian fan base who’d got wind of events were already making a beeline to the box office to get a refund on some of those.  400 hundred tickets!!! They might as well have put the gig on in a pub. The Whitehaven PR machine must really be in need of some oiling. Put a gig on in a pub, now there’s an idea. With all hands to the pumps and with the assistance of local heroes Mighty Boof Promotions , TLW cut their losses, blag a PA, and put on their own late show in a local boozer. As it turns out, the pub is rammed, the gig’s a blinder, and apart from having to get a policeman to put the window through on the splitter van after locking the keys inside, the day is not a total loss. But we’d come to review the band at a festival and we’d failed, so we’ll leave it there for now and try again at Kendal Calling in July. .

photo by DJM Photography

Right, it’s time to rewind a few hours and review the three acts that actually got to play Whitehaven Festival.

We start with Simon Townsend; remember him from 800 words ago? Like his more illustrious brother Simon plays rock music, but that’s where the comparisons end. If there had been a local B&Q I would have purchased a brush and some paint just so I could watch it dry. They say talent can often skip a generation and all I could say was bring back the magician. A selection of more pedestrian middle of the road AOR it would be hard to imagine. Someone tells me that he’s well received in America, and I ponder forgoing this year’s summer holiday just to by him the flight. Time to move on then…

photo by DJM Photography

When The Enemy take to the stage the numbers have swelled slightly but are still painfully low. Let’s remember, this is a band who a little over a month ago adorned the roof of Wembley stadium on cup final day, playing to 90 thousand in the ground and a television audience of some 80 million, so this must have felt like a rehearsal. Well if it did, it certainly didn’t sound like one. The band tear into their set with a speed and passion not seen since rosier days.

With few exceptions they largely gloss over the poorly received ‘Music for the People’ album, choosing to concentrate on singles and material from the recently released ‘Streets in the Sky’ and platinum selling ‘We’ll Live and Die in These Towns’.  Singer Tom Clarke certainly seems to have his mojo back (had he ever lost it), and is a front man who without exception is utterly believable when on this form.  He’s ably assisted by bassist Andy Hopkins, who delivers a definite swagger (and whose football skills are none too shabby as we witness later), whilst drummer Liam as always, is attempting to beat his kit within an inch of its life.

photo by DJM Photography

Current single ‘Saturday’ fires on all cylinders, and you wonder as Clarke spits “There’s a train tonight we’ll leave when you want”, if the song could have been written especially for days like today. Recent release ‘Gimme the Sign’ also sparkles as do crowd favourites ‘Live and Die in These Towns’ and ‘Be Somebody’. If The Enemy’s comeback is under any pressure it’s certainly not in evidence based on this performance. In fact tonight’s show should serve as a lesson to all up and coming bands. Regardless of the audience size there’s never an excuse for half measures. In this case the Coventry boys serve up a set that’s slick, ballsy, and right on the money.

photo by DJM Photography

Like The Enemy, and with a 9 o’clock curfew looming, tonight’s headliners The Charlatans waste no time in navigating a greatest hits set like the seasoned professionals they are.  Tim Burgess seems in good spirits and is convivial as always, resplendent in trench coat and beret as he cajoles the meagre congregation into giving him more.

I’ve seen The Charlatans several times over the years and on occasion they’ve been prone to the odd wobble. Tonight however, they actually sound great, with Burgess’s voice being in particularly fine fettle. Now I’m not sure if it’s the fact that recent live outings have been quite sparse, but despite the disappointing turn out they really look to be enjoying the experience of being on stage together. The hits come thick and fast, as ‘North Country Boy’, ‘One To Another’ and ‘Weirdo’ are all dispatched with ease, but predictably perhaps, it’s early single ‘The Only One I know’ that receives the biggest reception.   All too early this jog down memory lane comes to an abrupt end, no encores; in fact the crew are striking the gear before anyone’s got a chance to shout for more. I suspect (like The Enemy) that getting the first train out of Dodge may be quite high on the bands agenda, it’s a shame.

So there you have. I think it’s fair to say, that with the possible exception of Mr Townsend, none of the bands playing in Whitehaven on Jubilee weekend got quite what they deserved.  Should the festival organisers want any help in booking a circus to perform in a matchbox for next year our fee is non-negotiable. 

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We would like to say a big thank you to David Morgan of DJM Photograpghy, who came to our rescue after our camera packed up. If you're looking for some live shots you can email him at djmphotography@btconnect.com or visit his site http://www.djmphotography.co.uk Nice fella