2017 has been a funny year. Here in the UK we dealt with sickening revelations and political turmoil. Our so-called 'special relationship' with the US seems more laughable than ever.
Back to music... I think it's fair to say that it's been a pretty mixed bag. On the one hand, we were presented with beautiful albums from the likes of LCD Soundsystem, Enter Shikari and The National.
On the other hand, many of my favourite bands have been irrecoverably condemned to the 'do not listen to' pile. What will it take to stop those in power from abusing it so?
While I struggled to understand the upsetting news stories, I did get to attend over 20 gigs this year and discover some great new artists.
I'm happy I stumbled across October Drift, Japandroids, and The Smith Street Band. I definitely rank the latter in my top 5 favourite artists, and am planning a trip to Australia to see the group out there.
My most memorable gig of 2017 has to be Los Campesinos! at London's KOKO in May. The group has such an infectious energy, and it was great to be a part of it.
I also finally got to see The Killers and Future Islands, two bands I've loved for a long time.
I have high hopes for 2018. I have my fingers crossed for a UK Courtney Barnett & Kurt Vile tour, and cannot wait to see The Front Bottoms and The Smith Street Band in London in February.
Wherever you celebrate the new year, I hope you have a good one. Here's to 2018!
Where to start with Gogol Bordello? The Gypsy punk band have been touring tirelessly since 1999 and have known at least 20 members.
Ukranian-born Eugene Hütz is the group's tenacious frontman, and other members come from Ethiopia, Russia and America - to name but a few.
Last week's Brixton Academy show was in support of Gogol Bordello's seventh studio album, Seekers and Finders. Before the Gypsy punks took to the stage, Lucky Chops, a brassy funk band from New York were charged with warming up the crowd.
Whether or not you know Gogol Bordello's music, it is impossible not to enjoy yourself during one of their live shows.
Left - Eugene Hütz, Right - Thomas Gobena
As soon as Break Into Your Higher Self started playing, the crowd was energetically jumping around. As the evening continued, this energy was simply amplified as older tracks started to be played.
Particular favourites included Alcohol and Start Wearing Purple, but songs from the new album were just as well received.
Passionate moshing continued throughout the show but, as is always the case at punk gigs, the crowd was respectful of anyone in difficulty.
Each member of Gogol Bordello is captivating to look at. Bassist Thomas Gobena has an exceptional blue beard and Sergey Ryabtsev on the fiddle reminded me of Jeremy Corbyn...
Hütz and his drum
By the end of the night, Hütz ended up crowd surfing on top of a large drum. He even invited a girl from the crowd to climb up with him.
The energy from this band is immense and incessant. It was an amazing send off to the strange year that has been 2017. If you haven't seen Gogol Bordello, make sure you do in 2018.
Following a successful Australian tour, Manchester based anti-folk band Crywank returned back to the UK for a series of intimate shows.
According to their Bandcamp page, they have been told they are the worst named band in the country. This hasn't put off the fans, however, because both London dates sold out.
Both nights took place in London's Surya venue and support came in the form of Night Swimming and itoldyouiwouldeatyou. (I unfortunately missed the first act, sorry!).
London based indie-punk/emo outfit itoldyouiwouldeatyou performed a short but sweet set of eight songs. Lead singer Joey captivated the audience, introducing two new band members and then stepping into the crowd for one song.
itoldyouiwouldeatyou
The latest single, Mourn, was well received, and we even witnessed crowd surfing during the final song, Letters. This was particularly impressive considering the tiny size of the dance floor.
If you haven't had a chance to listen to itoldyouiwouldeatyou, I highly recommend you to do so! (The video for Mourn is below).
After a short break, Crywank took to the stage. Frontman James Clayton performed a mix of songs from his four LPs.
Memento Mori from the excellently named Tomorrow Is Nearly Yesterday and Everyday Is Stupid LP went down well. Starting with the lyrics 'Everyone I love is going to die', it was never going to be a cheery evening.
Crywank's James Clayton
Despite the sad subject matter, the atmosphere in the venue was anything but miserable.
Crywank bring people together. Fans who have been religiously listening to the releases since 2009 got the chance to chant the well-crafted lyrics back at the band. Couples slow-danced. There was no crowd surfing, more a state of gentle reverie.
If I was trapped on a desert idea and could only listen to three artists for the rest of my days, they would be The Cure, Los Campesinos!, and The Killers. While differing in style, all three have an extensive back catalogue so boredom would not be an issue.
This theory was proven last night by The Killers' wonderful wonderful performance in London. Touring in support of their latest album, Wonderful Wonderful, Nevada's most successful rock band took over the O2 arena for two nights only.
Support came in the form of Australia's Juanita Stein. After a 45 minute wait, a brightly lit triangle rose up to reveal Brandon Flowers (lead vocals, keyboards, bass), Dave Keuning (lead guitar, backing vocals), Mark Stoermer (bass, rhythm guitar, backing vocals) and Ronnie Vannucci, Jr. (drums, percussion).
The view from Level 4
What followed was two hours of music that took the audience on a journey of the last 15 years. Starting with the title track from the new album, and then racing back to Sam's Town with the much-loved 'Read My Mind', Flowers' left little room for a breather between each song.
'Jenny Was a Friend of Mine' was well received, and 'Somebody Told Me' got the whole crowd screaming along. It really did feel like I was listening to my Killers-filled iPod on shuffle for two hours. Live, Flowers' voice comes across excellently.
The staging saw Vannucci drumming on an elevated platform at the back. He was a spectacular tour de force, at one point actually climbing onto the kit itself. Seeing as they formed in 2001, the band are seasoned rock stars by now.
Also on stage was: a rusty water tower with 'London' emblazoned on the front, three female (Venus) symbols for each backing singer, a male (Mars) symbol in front of Flowers, and two huge neon arrows. Add to that multiple confetti canons and projected images of cowboys. Old-school Killers had certainly come to town.
Luckily NME got a better photographer. Image Credit: Rob Loud, NME
Before playing, 'All These Things That I've Done', Flowers' explained the inspiration for it came from Lou Reed. When he was working at a Las Vegas casino, he would try to imitate Reed's iconic vocals, ultimately ending up humming 'Don't you put me on the back burner'.
The Killers' set came to a close with the incredible 'When You Were Young'. For the encore, the band invited New Order's Bernard Sumner on stage to perform 'Bizarre Love Triangle'.
The evening concluded with 'Human' and then, of course, 'Mr Brightside'. Whether you like it or not, no Killers set would be complete without it.
Overall, every song was excellent. There weren't even too many people desperately filming every second on their phones. For two hours, the audience was definitely smiling like they meant it.
Five albums down, Enter Shikari show no signs of stopping. Since the 2005 release of their post hardcore, punky first album, Take to the Skies, the four piece have constantly evolved.
Their latest album, The Spark, showcases another change for Shikari. While still heavily politically charged, certain singles are much 'poppier' than previous releases. 'Live Outside' has been played regularly on Radio 1, whereas 'Mothership' probably wouldn't have made the cut.
The four piece headed to London's beautiful Alexandra Palace to promote the The Spark, and it was certainly an explosive evening. Support came from Astroid Boys and Lower Than Atlantis.
Proceedings kicked off with 'The Sights' from the new album, followed by 'Solidarity' and 'Anything Can Happen In The Next Half Hour...' from Common Dreads and Take To The Skies, respectively.
Rou everywhere!
After an intense mix of songs from all albums, lead vocalist Rou Reynolds and bassist Rob Rolfe seemingly disappeared. They were found standing on the lighting rig, however, and a beautiful rendition of 'Adieu' ensued.
Moments of respite are brief at a Shikari gig, however, and soon enough Rou announced a 'power round', where they were going to play four songs in eight minutes. BPM sky-rocketed with an intense mix of 'Sorry, You're Not a Winner', 'Sssnakepit', '...Meltdown' and 'Antwerpen'.
If that wasn't enough moshing for anyone, Shikari then went straight into 'Zzzonked' and the crowd went wild. (My glasses fell off!) True to form, the crowd was energetic but kind, stopping to pick up anyone who fell down or felt uncomfortable.
Just as the gig started with a track from The Spark, the final song was 'Live Outside'. In today's awful political climate, we need lyrics that voice both our disappointment and our desire to change. 'I'm going to live outside of all of this now'.
'Are they a new band, then?' asked someone in the audience. Far from it. The members of Future Islands have been performing electropop music together for over ten years. Lead singer Samuel's reputation precedes him, his energetic dance moves make the crowd wonder how his knees haven't given up yet.
It was with great excitement that Future Islands headed to London to take over Brixton's O2 Academy for three days this week. Samuel told the crowd that it was the biggest show they've ever done to date. This tour is in support of the band's latest album, 'The Far Field'. And look how far they've come...
With a huge back catalogue to choose from, it was good to see the band didn't solely focus on their new record. Instead, many tracks came from 2013's 'Singles' album, which arguably propelled the synthpop trio to stardom. Future Islands today are Samuel T. Herring (vocals), William Cashion (bass), and Gerrit Welmers (keyboard).
The set started with 'In the Fall' from the 2010 EP. Then we entered 'The Far Field', in which 'Ran' was particularly successful. If you haven't seen the music video yet, I highly encourage you to do so.
There was a good mix of tempos during the set, allowing Samuel to take short breaks from his grooving. After 'Balance', 'Long Flight' was well received and got the crowd dancing. When the lead singer is clearly enjoying himself and is care-free, the crowd are more inclined to act in a similar way.
From left to right: Samuel, Gerrit, William
Often an artist relies on funky backing images to enhance a performance, but Future Islands simply had a white screen behind them. It reflected the stage lights effectively - and at one point blinded me - but meant the focus really was on Samuel and his interaction with the crowd.
One memorable act was during 'A Song For Our Grandfathers' where he seemed fully lost in the moment. As he ended the song with 'I hear the ghost whisper / And those old eyes watching me / But I feel safe,' he stopped moving and raised his hand up in the air.
Aside from his dance moves, Samuel's vocal range must be mentioned. On the albums, it's clear he can quickly change from a relatively high pitched note to a guttural howl, but in person this was hugely amplified.
Future Islands in their element
My particular highlight was the final song, 'Fall from Grace'. When the song reaches its climatic scream 'Before you go, please tell me / "Was it all inside of me?", the stage went black apart from a single spotlight on a kneeling Samuel. It was incredibly atmospheric and a perfect ending.
The show is very much centred on Samuel and his dancing, but praise must also be given to William and Gerrit. William in particular kept a stoic expression throughout the entire set, only smiling when we applauded at the end. I think he enjoyed himself, really.
Future Islands are quite a crowd pleasing band. If you simply want to dance along to the synthy beats, you are more than welcome to. If you stop to listen to the lyrics, however, a chill runs down your spine.
Leeds based quintet Autobahn released their second LP on 3rd November. Short but perfectly formed, The Moral Crossing takes the listener on an angry post-punk journey.
Bought from Drift record shop, Totnes
With cheerily named tracks such as 'Obituary' and 'Torment', the band are a perfect soundtrack for the disillusioned youth (or simply population) of today.
The first track, 'Prologue', sets the scene with angry guitar riffs, but it is only in 'Obituary' that we get the first taste of Craig Johnson's vocals. 'Take it from me, you'll all be forgotten / So I sacrifice myself'. A haunting chant ensues. Welcome to Autobahn's second album.
As the record develops, you find yourself noticing influences ranging from Joy Division (with 'Future' and the title track) to Animal Collective.
A particular favourite song would be 'Torment' with its female-spoken French lyrics and immersive, almost choral supporting noises. The song doesn't get quite as intense as the others, so provides a brief moment of respite.
'Execution/Rise' is certainly intense, however. With a duration of 3:43, it is one of the shorter tracks, but its repetitive chorus works you up into a trance-like state.
While the album does remind the listener of other artists, this is certainly not a negative point. For a band with just two albums under their belt to be likened to heavy weights such as Joy Division and The Cure, they must be doing something right.
We’ve all been there. Your favourite artists announces tour dates, you get tickets, get excited, and then as the show starts you find yourself watching the majority of it through various smartphone screens. Try as you might, it’s almost impossible to ignore the sea of glowing rectangles.
Many performers have tried to prevent this smartphone crisis. At Kate Tempest’s recent concert in London, she demanded the audience to pay attention to her, rather than their phones. This was successful, and even resulted in audience members themselves policing the venue. Many people were tutting – this is the UK after all - at those who ignored her instructions.
However, one San Francisco-based company, Yondr, has decided that there is only so far politely asking can get you. The company has developed a somewhat drastic solution to give artists, organisations and individuals the tools to create phone-free events and spaces. Its purpose is simple: ‘to show people how powerful a moment can be when we aren’t focused on documenting or broadcasting it’.
For a few years Mirrors Festival has been a day event showcasing the best of indie music which takes place in Hackney, East London. Previous acts to grace the stage have included Bats For Lashes and Rhye, and this year Los Campesinos! and Pinegrove were headlining.
The first thing to note about Mirrors is the venue locations. There were four in total: one 'stage' was above a vintage clothes shop, another at the excellent Moth Club, the third in Oslo Hackney and finally at St John at Hackney (which is an actual church, fyi).
I spent the majority of the festival in St John at Hackney, eagerly anticipating my third LC! gig of the past year.
With the exception of compulsory carol services during my school years, this was the first time I've seen live music in a church. And it was really, really good.
Ultimate Painting took to the stage at 6:45. Their set effortlessly mixed genres; what started as gentle guitars transcended into an awesome amount of sound.
Ultimate Painting take on the church
Certain songs gave off an early Oasis vibe, which was perhaps helped by the fact the band is made up of two guys - Jack Cooper and James Hoare. (However during their live shows they are joined by Will Young and Juan Jacinto, so maybe my analogy doesn't help...)
A personal highlight was Central Park Blues, which really reminded me of Courtney Barnett - a big plus.
Ultimately, Ultimate Painting were a lot of fun, and whet the crowd's appetite for the imminent arrival of Los Campesinos!
Throughout the evening, I got the chance to chat to both Kim (vocals, keyboard) and Gareth at the merch stand. It is so lovely for a band to have such a close relationship with its fans. While proudly clutching my fifth LC! t-shirt, I asked a few questions about the show, and also a few literary questions...
Gareth admitted that the acoustics hadn't been great during sound check - an empty church doesn't lend itself to indie rock - but by kicking off with the loudest rendition of For Flotsam that I've ever experienced, it was clear that Los Campesinos! were going to perform a show to remember.
Incredibly intense guitar solos, light displays that would rival Aphex Twin himself, and mosh pits ensued over the course of the next hour. I loved every minute.
It's quite hard for a band boasting six albums - and a huge amount of unreleased crowd favourites - to please everyone in one hour, but LC! tactfully played a selection of songs from each era.
Los Campesinos! + pretty cool lighting = great evening
Here's To The Fourth Time was a particular highlight. Gareth unleashed a guttural scream which then reverberated around the entire church. (Not your usual Sunday service).
A whirlwind set culminated with an epic performance of The Sea Is A Good Place To Think Of The Future. The lyrics 'But you could never kiss a Tory boy without wanting to cut off your tongue again' were screamed by the entire crowd, what a beautiful moment.
I do wish they'd played Who Fell Asleep In, 'She turned her back on the church and put all her faith in me' would have been particularly poignant given the location.
When the set was over, Gareth said they'd temporarily head back to the merch stand until Pinegrove started. I only recently found out the bands are friends (or at least mutually respect each other a lot), which is nice. You can read an interview with both bands here.
I can't finish this post without saying a big congratulations to Kim, who is pregnant! I didn't think she'd be performing last night, but she was just as passionate as ever. Looking forward to seeing Los Campesinos! return in the new year, but until then I'll make do with my funky new t-shirt. #lc4lyf
Following my recent promise to get to gigs earlier, I turned up to the Shepherd's Bush Empire at 7:30pm on Tuesday. I'd agreed to see Nick Mulvey with a friend who's a big fan, but didn't know who would be supporting.
All We Are are a trio who formed in Liverpool in the early 2000s. The drummer - Luis Santos - also happens to be my friend's cousin (small world). They produce a dreamy indie pop sound which transfixed the crowd for 30 minutes.
Bassist Guro Gikling was particularly impressive, the way she moved her feet gave the impression she was floating in time to the beat.
From left to right: Luís Santos, Rich O'Flynn, Guro Gikling
For the final song, 'Dreamer', a guitar and keyboard were added to the mix. The result was a magnificent amount of noise which I hoped would be replicated in Mulvey's performance.
This wasn't the case. In his trademark black beanie hat, Mulvey was the epitome of zen, casually strumming on his guitar. This wasn't in itself a bad thing, but seeing as I spend the majority of my time at sweaty punk gigs, it was certainly a change to usual.
Following the release of his second record, Wake Up Now, Mulvey played a selection of folky songs from both his first and second albums.
Nick Mulvey takes centre stage
Radio-favourites 'Unconditional' and 'Fever To The Form' went down a storm, with the audience singing along word-perfectly. After singing the first verse of 'Cucurucu', Mulvey stopped, smiled, and said he'd like to start again because the response was so beautiful.
With lyrics about peace, childhood, and nature, Mulvey transported the audience to a worry-free world. Gone were the worries about work or news, it was simply impossible to be stressed.
The lighting also added to the experience. As the set drew to a close the stage was completely dark apart from a single horizontal beam of bright light. Looking too intensely at the stage was painful, so you had to fully focus on the music.
My personal highlight was an adorable older lady standing to my right who danced throughout the entire set.
In conclusion, Mulvey captivated the crowd with his guitar and peaceful attitude. Sometimes that's all you need at a concert.
I found myself back at The Cellar in Oxford on Saturday night for another excellent indie rock/punk night. On the line up were Quartermelon, Easter Island Statues, October Drift, and Desperate Journalist.
There aren't many times where a supporting artist has been more engaging than the main act, but October Drift blew me away.
Hailing from Taunton, October Drift is comprised of Kiran Roy (vocals, guitar), Chris Holmes (drums), Alex Bispham (bass), and Daniel Young (guitar).
Right from the start, the quartet set the scene for a dramatic performance. Each band member adopted a certain stance, maintained it for an almost uncomfortably long time while producing an epic amount of noise, and then didn't stop moving throughout the 45 minute set.
Each band member succeeded in engaging the audience, from Daniel's haunting expression to Alex's impressive headbanging. One particular highlight was when Daniel collapsed to the floor, balancing the guitar on his knees.
Here's a little snippet of the action (filmed on my phone, then sent to everyone I know).
When Kiran took a break from energetically moving around the stage, we got the chance to focus on his vocals. I was reminded of The National's Matt Berninger - and the band list them as one of their influences.
He didn't stay still for very long, however, and he was soon climbing onto the bar. When the band are playing together, minimalistic post-punk verses happily transcend into joyous noise. I had a smile on my face throughout the entire show.
From left to right: Daniel, Chris, Kiran, Alex
Obviously I'd like to think every performer takes pride and has passion in their work, but October Drift took it to a new level. Kiran cut his fingers and broke two guitar strings during the set. Blood, sweat and tears were definitely shed during the performance. (Okay, I'm not sure about the tears).
Originally I'd intended to see post-punk Band Desperate Journalist - mainly for their great name - but I found myself so overwhelmed by October Drift's performance that I found myself 'drifting' towards the back mid-set.
Saturday night certainly taught me the lesson to arrive on time for gigs. Sometimes a support act can become your new favourite band.
Slightly hidden off Oxford's busy Cornmarket Street is The Cellar, a much loved independent music venue which has propelled the likes of Foals and Glass Animals to fame.
Last month, the venue's landlords applied for planning permission to convert the venue into a retail space. But The Cellar's fans came out in support and - thankfully - this application has been withdrawn.
The fight to save The Cellar continues, but it has become clear that the intimate venue means a lot to a great deal of people.
Bestival founder Rob da Bank shows his support
Following the release of their debut album, local two piece Cassels headlined The Cellar on Saturday night.
Support came from Fancy Dress Party and Lacuna Common. Encompassing the indie punk rock spectrum, both bands got the crowd going and set the bar high for Cassels' set.
Jim on guitar
With a setlist of nine songs - many from the newly released Epithet album - Cassels energised the crowd with a winning combination of apathy and pure punk joy.
First off was 'Coup'. Its politically charged lyrics (specifically about youth disenchantment) were well received by The Cellar's crowd. A mosh pit quickly opened up behind me - no mean feat considering the size of the venue.
The band certainly take no prisoners. "This song is about dementia," Jim (vocals, guitar) announced to the crowd. After a usual cheer, he quipped: "If you cheered you're a piece of shit, 'cause it's a terrible disease."
Cassels makes you think. They would be the first to admit that they're not an easy listening, pop band. Instead, their songs challenge you.
The penultimate song was 'Hating is easy', which was first released in 2015. 'And I would love you/ But loving is scary/ So I'll just hate you/ Hating is easy...' I like to interpret this song in two ways.
Firstly I see it as an ode to commitment phobia, where it seems easier to hate rather than mentally invest yourself in another party. Secondly I imagine it as a parody, criticising some of the terrifying attitudes we see today. Sure, let's just hate each other rather than sorting our differences out.
While I was checking out Cassels on social media post-gig, I noticed they're friends with the brilliant itoldyouiwouldeatyou and also supported Muncie Girls in February. As I get more acquainted with the UK indie scene, I constantly get more impressed.
I'll be back next Saturday to see Desperate Journalist and October Drift. In the meantime, please sign the petition to save The Cellar.
Ohio indie rockers, The National, are taking over London's Eventim Apollo this week with a series of four sold out shows.
For a band with seven albums in their back catalogue and over fifteen years of touring history, it was perhaps a brave decision to start the concert with four songs from their latest release, Sleep Well Beast.
The group clearly know their fans, however, because each song was received like an old friend.
This trend continued as frontman Matt Berninger moved on to old classics such as Sea of Love and Bloodbuzz Ohio. Without (memorable) exception, the audience applauded and cheered for an extended period after each song, which is something I'd never seen before.
When a band has such a strong range of albums to choose from, clearly each song on the setlist resonated with a different member of the audience. I met two women who have been fans of The National for ten years and have been to the same number of concerts, and one of the pair was so overcome with emotion when Graceless was performed for the first time this tour.
Matt's interaction with the crowd was second to none. On multiple occasions throughout the evening he descended into the standing area, and sometimes the audience lost sight of him for what felt like a depression-fueled eternity.
Irish singer Lisa Hannigan, who provided backing vocals on Sleep Well Beast, joined The National at multiple points during the night. Her enchanting vocals were sadly lost at first, but after a few adjustments she provided a haunting accompaniment to Matt's iconic baritone voice.
Matt's voice also reached new levels of emotion when it transcended into a guttural scream on certain songs.
As the night drew to a close, Matt announced that they were to sing 'the most depressing song we've ever written' - About Today. Hailing from their 2004 EP Cherry Tree, this was a particularly special moment. The crowd fell silent and eyes were drawn once again to the incredible light show behind the musicians.
The National's lighting was attention grabbing, switching from vintage-style live footage of the band to bright lights that at moments reminded me of Aphex Twin's set at Field Day festival.
Having performed a cover of Talking Heads' Heaven, support act This Is the Kit and Lisa Hannigan joined the stage for a beautiful, bittersweet rendition of Born to Beg.
The icing on the cake of a beautiful two hour concert was the final song choice - Terrible Love. Matt walked through the crowd as we all sang in unison 'it takes an ocean not to break'.
My only regret is that we didn't get to hear Mr November, my favourite song.
The National can be depressing, and there's no denying I felt slightly melancholy this morning, but in today's world it is simply impossible - at least for me at least - to pretend that everything is going swimmingly.
We need music that examines our deepest emotions to prevent us from burying our heads in the sand. And with that being said, we need The National.
For those who missed their tour with Blink 182 this summer (or who just can't get enough), European fans of the incredibly named indie rock band The Front Bottoms will be excited to hear that they're coming back over to see us early next year.
What's more, my favourite Australian rockers - The Smith Street Band - will be joining them. Could a gig get any more perfect, I hear you ask? Well yes, Brick + Mortar will be the other support act.
It is impossible to ignore the fact that TFB have changed a huge amount since their angsty early releases (for example Swimming Pool, Father). Fortunately, Brian's distinctive vocals still steal the show.
Having tragically missed them no less than three times during my university years, I finally saw TFB when they played at Kentish Town in December 2016. They certainly did not disappoint.
This tour will be our first opportunity to hear TFB's new album, Going Grey, live. With the album set to be released on 13th October, this gives fans plenty of time to know each lyric by heart. No pressure...
What makes me so excited about this tour is the support. I love The Smith Street Band and, after their incredible performance at The Garage in June, I'll certainly be attending February's show at Camden's Roundhouse.
Tickets go on general sale on 13th September. See you there?
For a two piece band, the Canadian rockers that make up Japandroids certainly know how to make a lot of noise.
Formed in 2006, Brian King and David Prowse's band caught the public's attention through a combination of an interesting portmanteau, angry lyrics and energetic live shows.
Incredible artwork
In celebration of the band's third studio album, Near to the Wild Heart of Life, which was released in January this year, the duo headed to London for a special gig.
A secret East London venue, a 360° pit design stage and the promise of a very late night set the scene for Wednesday's antics.
Supported by the wonderfully angry Yowl (known for such songs as My Headache Likes To Speak) and the even angrier Bad Breeding, Japandroids entered the pit just after 10pm. What followed was an explosive evening of old classics and new material.
The title track from the new album kicked off proceedings and was well received. As is often the case certain songs pleased the crowd more than others, but on the whole the setlist was well chosen to encourage everyone to keep dancing.
It became clear that, while in theory the 360° stage meant everyone would get a good view of King (guitar, vocals) and Prowse (drums, vocals), there was one side which got particularly rowdy. Intrigued, I headed over to investigate.
What followed was a sweaty and intense dance/mosh experience. Crowd surfing and general (lighthearted) crushing ensued, and I amusingly noticed a lonely deodorant rolling along the beer-covered floor. We definitely needed that by the end of the evening.
The duo managed to keep the intensity going throughout the hour and a half set, finishing with a energetic rendition of The House That Heaven Built. A sweaty yet euphoric audience screamed along to the chorus 'And if they try to slow you down/ Tell 'em all to go to hell'.
And that was very much my takeaway from last night. When we were in the pit, nothing mattered apart from the music and how much enjoyment we get out of it. Nothing can slow down Japandroids - or its fans - at the moment.
Hailing from Melbourne, Australia, The Smith Street Band formed in 2010, originally under the name Wil Wagner and The Smith Street Band, in a nod to Bruce Springsteen and the E Street Band. In 2011 the rock band changed its name to signify a whole-band songwriting style.
The band is currently made up of four members; Wil Wagner, Lee Hartney, Michael "Fitzy" Fitzgerald and Chris Cowburn. To celebrate the release of their 4th studio album, More Scared of You Than You Are of Me, The Smith Street Band have been touring in Europe.
I first discovered The Smith Street Band through the magic of Spotify. While stalking the band on Facebook, I came across a picture of a fan's tattoo which made reference to Ducks Fly Together, my favourite single, and realised just how much of an impact this band has on its fans.
As seems to be a trend with musicians I admire, The Smith Street Band's lyrics focus heavily on depression and heartbreak, and the intensity of the music both heightens and alleviates the sadness. There's something incredibly addictive about the band's style, and also I'm a sucker for an Australian accent.
Seeing The Smith Street Band live was an incredible experience, simultaneously exactly what I expected and 100 times more. Firstly, the venue (The Garage, Highbury Islington) was intimate, while providing enough space for dancing. They sold cider/beer in two pint glasses which certainly set the scene for the night.
Support came from Shit Present (who I unfortunately missed) and The Bennies, another Australian rock band who are slightly more punky than Smith Street. They were so energetic and got everyone ready for the evening. While waiting for The Smith Street Band to start, I noticed someone wearing a Los Campesinos! t-shirt and another with a Modern Baseball jumper. I was clearly in the right place.
The Smith Street Band!
Each song the Smithies (I'm getting more casual now) played got me more and more excited. I love loud rock music, when the crowd starts jumping and screaming together, and this is exactly what I experienced. It was beautiful.
Being conscious that I don't want to fangirl too much, I'll list some of my favourite songs for those who haven't had a chance to experience this band yet.
Calgary Girls, Forrest, Ducks Fly Together, Shine, Song For You, Passiona
I'm even more in love with The Smith Street Band than I was before, so much so that I'm considering a (permanent) trip to Australia to see them more regularly... Until then, I'll content myself with the great t-shirt I got from the show and the music.
It feels like I've had a crazy month or so and I feel sorry for neglecting this blog. I have been lucky enough to see The Jesus and Mary Chain, Los Campesinos! and Kate Tempest while I've been 'away'.
Before I continue, I must address the atrocities that took place in Manchester last Monday. As a huge fan of live music, and having lived in Paris when the Bataclan attack took place, it really affected me. To deliberately kill young children during what should have been the best night of their lives is both cowardly and sickening. I'm very grateful to my parents for allowing me to attend concerts on my own since I turned 14, and believe it is essential to keep living and enjoying the things that make life worthwhile.
I saw Kate Tempest on Saturday and would like to thank the staff at Brixton for making us feel completely safe. It was incredible to see such a diverse mix of people enjoying her politically and emotionally charged performance.
I've added a few more gigs to my calendar for this year including The Smith Street Band in July. I'm also considering getting The National tickets for September and Future Islands for November, and while I definitely want to see them I'm also finding it hard to think ahead to those cold winter days right now. That being said, I have bought tickets to see Enter Shikari at the end of the year.
During my seemingly constant train journeys recently I've stumbled across a band that I like, so thought I'd take a moment to enthuse about them. (I stress that, while they are new to me, they are almost certainly known to others).
Car Seat Headrest
My dad recently bought Car Seat Headrest's twelfth album, Teens of Denial, which was my first taste of this American indie rock band. I instantly identified with the music style, lead singer Will Toledo often shouts on the songs which reminds me of The Front Bottoms or Modern Baseball.
I'd recommend listening to Car Seat Headrest loudly on your headphones, it made a big impact on my commute to work.
As is often the case with me, I've discovered this band far into their career... Now it's time for me to go through their back catalogue!
Songs: Not What I Needed, Drunk Drivers/Killer Whales
Stay safe, keep doing what makes your heart race and stick together. As Kate Tempest eloquently put it: the point of life is live, love if you can, then pass it on.
The best band ever, Los Campesinos!, were recently touring in the US (on an awesome looking tour bus, I wish I'd been there...) I thought I'd share with you a video of their live performance at the KEXP studio in Seattle.
Enjoy listening to 'I Broke Up In Amarante', 'Here's To The Forth Time!', 'The Fall Of Home' and '5 Flucloxacillin'.
LC! sound even more emotional and desperate when performing live and this video really moved me. You can also hear a mini interview with the band halfway through.
Happy Tuesday everyone! I'll be back next week with thoughts on my next gig - The Jesus and Mary Chain - which is tomorrow.
I've been meaning to write about The Shins' latest album release for a few weeks now, but I thought I'd save my thoughts until I'd also seen them perform it live.
To my disappointment, I only discovered The Shins relatively recently. Last November a friend of mine told me I had to watch Garden State (which incidentally I loved and now have seen approx. five times), and The Shins figure heavily on its soundtrack.
In the film, Natalie Portman's character is a big Shins fan, and goes as far to say that listening to 'New Slang' will change your life. I wouldn't go as far to say the track is life-changing, but it is certainly life-enhancing.
To cut a long and potentially rambling story short, I quickly caught up for lost time and got my virtual hands on all their back catalogue and a pair of tickets for the London show on 29th March.
Five years since their last album, Port of Morrow, James Mercer & co. released their fifth record last month. I must have listened to the album at least 15 times, and while it's very engaging as you listen to it, I'm still struggling to pick out key songs or lyrics that really resonate with me.
Unlike earlier albums (Oh, Inverted World immediately springs to mind), Heartworms lacks urgency. Perhaps this is an obvious result of being five years in the making, but it did mean that I felt less 'sure' of myself as I headed over to the Hammersmith Eventim Apollo last Wednesday.
Despite my initial reservations, I was blown away by the concert. When a band has an extensive back catalogue you sometimes find yourself slightly disappointed when your favourite - often obscure - song isn't played, but this was not the case.
The band selected a roughly proportionate number of songs from each album to play, starting with 'Kissing the Lipless' which captivated the crowd. Other stand out moments were 'Mine's Not a High Horse' - also from the Chutes Too Narrow album and, maybe surprisingly, 'Mildenhall' from Heartworms.
The incredible 'Caring is Creepy' was the perfect 'final' song (we all knew they had to return for 'New Slang'). Since the gig I've been listening to a lot of songs from Oh, Inverted World. I love when a concert inspires you to return back to old favourites and doesn't just try to plug the newest release.
Also, because I tend to listen to the albums while walking around, I can't always associate the track names to the song itself, so reading setlists before doesn't always help and I found myself dancing away to every song.
Another point to mention is the intricate artwork found on the Heartworms album and subsequently repeated on stage. The skull lit up in various ways which added to the whole experience, I really appreciated how much effort they put in.
Following the gig I have been listening to a mix of Heartworms and The Jesus and Mary Chain, so I've been pretty content. My initial thoughts on the album were certainly changed by the concert, and having some time to reflect has made me realise just how great a band The Shins are. I'd really like to see them again soon.
Following its release last Friday, I've had Los Campesinos!' sixth album on constant repeat. It has followed me on a ten-hour return trip to Devon, daily commute to work and baking cheese scones. I guess you could say it's an adaptable album.
LC! are a band very close to my heart. They accompanied a large part of my adolescence and then followed me through my uni years. I found the 'Romance is Boring' album really helped my essay writing. Sadly I've had to grow up and now I listen to them as the 'business woman' I've accidentally ended up badly becoming (help).
This seven-piece band have a talent at producing catchy and (for the most part) upbeat songs which give an illusion of happiness while you're aimlessly walking along, but Gareth's intelligent lyrics mean that when you decipher the true message you're left as anything but elate. And I really, really enjoy it.
After a three year break, the first hint at new LC! music came in November with the release of 'I Broke Up In Amarante.' I'd just come back to live at home after three years in Paris, felt I'd reverted back to pre-uni depression and the lyrics 'It seems unfair to try your best but feel the worst' really resonated with me.
As we finally waved goodbye to the terrible year that was 2016, Los Campesinos! released the second track from the album: '5 Flucloxacillin.' An ode to our doomed generation who are struggling with medications just to feel something, but who are ultimately still judged by parents for not feeling enough.
'The Fall of Home' was the final track to be released before the album's release date. Ballad-esque in nature, it greatly differs to the previous singles. Gareth sings about those who, having left their home town, find themselves alienated from it when they return.
Enough of the previews, now I can get to the crux of the matter: the album itself. Visually speaking, it is a work of art. Musically speaking, it is beautifully self-deprecating and certainly worth the wait. The band recorded 'Sick Scenes' in Portugal in June during two important events: the UEFA 2016 tournament and the UK referendum. Both negative results are strikingly obvious in the album's sound.
The album opens with 'Renato Dall'Ara (2008)', which I actually first heard in December during a tiny gig at Hackney's Moth Club. With its chanting and catchy chorus, it's a great way to start the album. 'Sad Suppers' is next which sees Gareth claiming he's 'never a miser with the misery.' LC! made me realise it's OK not to be OK all the time, and there's something satisfying in allowing yourself to be miserable (listen to 'Miserabilia' for more on that.) In my humble opinion it is both impossible and uninteresting to be constantly happy.
Following on from 'I Broke Up In Amarante' is 'A Slow, Slow Death', one of my favourite songs on the album. I'm very tempted to get some initials inside a heart tattoo. Then we get 'The Fall of Home' and '5 Flucloxacillin' in quick succession before 'Here's To The Fourth Time!' - a song about that one person you keep going back to, despite knowing the relationship is ultimately doomed.
The album continues with the amusingly titled 'For Whom The Belly Tolls' and then 'Got Stendhal's', another of my favourite songs. In a great interview with The 405 that you can read here, Gareth explains: "I guess this is a love song; it's about being overwhelmed by somebody else, and by being overwhelmed that you find yourself in love. But also being aware that life and love is fickle and that although you may be experiencing happiness it always feels like sadness and disappointment is not very far away."
'Sick Scenes' approaches its conclusion with 'A Litany/Heart Swells'. Swelling hearts is a recurring theme in LC! songs, so it was nice to see it repeated in the new album. This is a song that manages to be beautiful while also referencing a chicken shop, something only Los Campesinos! could do.
LC! albums have a tendency to end on a pretty depressing note (see 'Light Leaves, Dark Sees pt. II' and 'Coda: A Burn Scar In The Shape Of The Sooner State' - which also happens to also be my favourite song.) 'Hung Empty' is somewhat an exception to this rule, it is fast paced and vaguely positive at points, yet the final lyric 'what if this is how we die?' brings us back to reality.
So to conclude this rambling blog post, if you haven't guessed I really enjoy 'Sick Scenes'. This came at no surprise to me, I knew I would. I am looking forward to 1st May, when I get to see some of these new songs played live at London's KOKO (I've had these tickets since mid November...). In the meantime, you should all watch the video for '5 Flucloxacillin', it made my day.
I discovered Modern Baseball around the same time that I found The Front Bottoms (approx. August 2013). I'm a big fan of slightly nasal American pop punk artists, what can I say. Modern Baseball and TFB supported Brand New on a tour of the states last year, I wish I could have been there!
On Saturday 18th February I made my way to Kentish Town's o2 forum (potentially my favourite gig venue in London - I love how I can arrive quite a while after door's open but still get really near the front and just love the atmosphere). Modern Baseball came to the UK to promote their latest album, Holy Ghost, which was released last year.
Support came from Thin Lips and Superweaks, the latter coming on stage a few times to sing with Modern Baseball. Prior to coming, I didn't know either band that well (just a quick Spotify stalk a few days beforehand) but they definitely got the crowd going.
I really loved Modern Baseball's set. To me they represent the start of uni, when things were going really well yet I still remembered how unhappy I had been at school previously. Their lyrics often concentrate on the impact of social media on my generation, which I can obviously relate to.
A highlight of the set was when they played 'Hiding'. This is one of my favourite songs from the Holy Ghost album but I wasn't expecting them to play it. It's always a great feeling when you recognise each song that is played, and it seemed like the crowd were loving every minute.
Following an energetic rendition of 'Your Graduation', the concert finished with an incredible cover of The Killers' 'When You Were Young'. (See shaky video below, I was very excited).
While the gig was really enjoyable, and Sean, Ian and Jake did a great job, it was still sad to not see Brendan perform. Anxiety and depression are not to be taken lightly, and I think I speak on behalf of all the fans when saying I fully understand his decision not to play.
Additionally, a few days after the gig Jake posted a message on Facebook saying that the band will be taking a break while they all individually focus on their mental health. My heart goes out to you all, stay strong.
Last Thursday, I saw Two Door Cinema Club for the second time at Alexandra Palace. While it was an enjoyable experience, I can't say it was the most inspiring concert I've ever attended. First things first, however, I was very impressed with the logistics of getting to Ally Pally. The bus from Wood Green dropped us off directly outside the venue, so we didn't have to mission up the hill in the cold. It was also such a beautiful building and I wasn't expecting to be greeted by some huge trees as we entered... Also, before arriving at the main stage there was a big area full of bars and food stalls which added to the relaxed vibes.
Alexandra Palace's 'atrium'
We missed Sundara Karma, the first support act, thanks to a combination of an earlier pull of sushi and the time required to actually get from central London to Alexandra Park. When we arrived Circa Waves were seemingly mid set and the crowd was beginning to warm up.
Around 8:30pm, Circa Waves appeared to finish and we expected Two Door to start, but it turned out that they had simply taken an exetnded break and they returned 20 minutes later. I found this a bit strange, and it also made me less excited for the main act who didn't get on stage until 9:30pm. I would have appreciated knowing this in advance so I could have planned accordingly, but hey.
THE classic gig photo, no?
Set-list wise, it was evident that Two Door know their fan base well. The majority came from earlier albums, with classics such as 'Undercover Martyn' and 'Something Good Can Work' going down a storm. I wasn't blown away by the acoustics at Ally Pally, granted we were standing quite far back but it wasn't always the most engaging experience.
I don't want to come across too negative, because I did enjoy my evening. I'm just conscious that things could have been slightly better. Overall I'm glad I got to test out Alexandra Palace as a venue and now I'm looking forward to seeing Modern Baseball on Saturday.
"If music be the food of love, play on." Now I've got your attention with a cheesy, over-used quotation, I can introduce myself. Hello, I'm Alice and I'll be using this blog to chronic my musical discoveries and concerts I attend.
I wish I could say that I've always had a finely tuned taste in music, but it would be incorrect. I'm unashamed to say that I go through phases. In the last ten years I've had a Twilight phase (the least said about that the better), grime phase, theme park phase and Lady Gaga phase, to name but a few.
My first live music experience was at the Cbeebies prom in the park in the early 2000s (deadly serious). The day was slightly tainted by losing my Dad halfway through which resulted in much panicking and tears, so I didn't make a lone venture into the world of concerts until I was a 'cool' (read: loser) teenager.
At 14 I dragged three friends to Shepherd's Bush's Empire to see Tinchy Stryder. I remember feeling very young compared to other attendees, but it definitely started a love affair with live music. In the years that followed I saw an eclectic mix of artists including Bullet for My Valentine, Ke$ha, Gorillaz and Lady Gaga.
When I finished sixth form, I moved to Paris for my degree. A few months after my arrival, I saw The 1975 play at a tiny venue (La Maroquinerie). This made me realise just how much I prefer intimate venues and since then I jump at the chance to see up-and-coming artists just for the experience itself
While 2016 was truly an awful year for a myriad of reasons, it also turned out to be 'the year of the gig' for me. I entered some competitions and was lucky enough to win tickets to a few concerts including Låpsley and a tiny Enter Shikari acoustic set at the Deezer HQ in Paris:
The night before the acoustic set, a friend and I saw Shikari at Le Trabendo. This was the polar opposite to the chilled out Deezer set, and probably the most fun gig I've ever been to (it also helped that we'd had quite a lot to drink beforehand).
While in Paris I also got the chance to see Hozier, The 1975 (again) and attend a UK grime night which was super fun. Shortly before I left in September, I went to Rock en Seine - a three day festival in the Bois de Boulogne (a huge park on the outskirts of Paris' bourgeois 16th arrondissement). Particular highlights of the festival included CHVRCHES, The Brian Jonestown Massacre, Anderson .Paak, Little Simz, Sigur Ros, Bring Me The Horizon, Birdy Nam Nam and Peaches (look her up if you don't know her, you won't regret it).
I'm lucky enough to live about 30 minutes from London, so once back in the UK I kept buying tickets for various concerts in the capital. I saw Jamie T and Jack Garratt which went well, and then I finished off 2016 with an 'epic' three day weekend consisting of The Cure, The Front Bottoms and Los Campesinos!
LC! are my favourite band (I talk about them far too much for them not to be). This was however the first time I'd seen them live and I wasn't disappointed. It took place in The Moth Club, Hackney, which was a great intimate venue. I got the chance to chat to lead singer Gareth at the merch stand and loved the fact we could talk so easily. I don't know many other bands who invest such time in their fan base.
So now you're a little more up to speed with my music tastes, I can start to get excited about what 2017 will bring. Tonight marks the first gig of the year for me, I'm heading up to London after work to see Two Door Cinema Club at Alexandra Palace. I've never been there for live music so looking forward to seeing how it goes.
I'll write up tonight's gig comments over the weekend. In the meantime you can check out the other events I'll be attending by clicking here.
