may 2007: live reviews

JETHRO TULL - GRAND OPERA HOUSE, YORK - 03/04/07

“Ah, that over-qualified band!”
That’s how someone described the band I saw for the first time on an Old Grey Whistle Test BBC2 repeat. I remember spending the first few seconds deciding whether their performance was genius or insanity, just like the first time I saw Kate Bush, and concluded that it was indeed genius… seemingly bordering on insanity. On 3 April 2007 I sat before the ‘over-qualified’ Jethro Tull at the Grand Opera House, and realised that the fine line between genius and madness is simply outrageous dry humour.
Ian Anderson and guitarist Martin Barre stood before a full house exploding in applause and bodies that tingled in anxious expectation. How many chances do we get to see living legends, stone cold sober enough (presumably) to deliver a decent performance. But Jethro Tull, being as ‘over-qualified’ as they are, delivered more than something decent – much more! Anderson and Barre first performed ‘Some Day The Sun Won’t Shine For You’ from their debut album, a real blues treat that gave a sense of being somewhere in 1950’s Mississippi. Indeed, as Anderson reminded us, blues was in fact the first Jethro Tull sound in 1968, before they decided to adopt a more eclectic approach to music.
Jethro Tull are on their 2007 Acoustic Tour but this was an evening of ‘back to basics, no nonsense’ music, full of sound and energy (are they really in their 60s?). They ingeniously crossed over genres of blues, folk, classical and some 60s Brazilian Jobim-style sounds from time to time. After that first blues act, Anderson and Barre were joined by James Duncan on drums, John O’Hara on piano and special guest Anna Phoebe, whose finely tuned violin techniques and some back-bending gymnastics dazzled the audience. She behaved more like a heavy metal guitarist than a classical violinist, but did play with class! Anderson’s still got that leg-up-ankle-over-knee number and the same wide-eyed theatrical expressions and gestures, creating that medieval-storyteller feel to the whole musical experience. And so it was a very unique, very Jethro Tullish musical experience that left the Grand Opera House in awe. If we were not all laughing out loud over Anderson’s dry, outrageous, sometimes risqué humour, we were in hysterical applause after every number, particularly with 1972’s ‘Thick As A Brick’, ‘Jack In The Green’ and ‘Aqualung’.
Anderson told a short tale of the beautiful Russian Catarina who turned to substance abuse after deception and abandonment by her beloved, thus preparing us for something beautiful and sad. Then in one split second he returned to the microphone and reassured us: “By the way, that was all bollocks.” Still, ‘Catarina’s Theme’ was a beautifully composed and performed number by Anna Phoebe, who also composed ‘Gypsy’, another gripping moment, full of colour with a background haunting drum beat. Gypsy was particularly memorable because the cathartic and haunting rhythm gave way, in the middle of the song, to a gentle emotional outburst – the flute and violin were like a nightingale and soprano duet, alluring the audience into something very magical. And this pretty much sums up Jethro Tull at the Grand Opera House – unmissable!

words: s. garção
pic: david x green

SEX PISTOLS EXPERIENCE + ED TUDOR POLE - DADDY COOL’S, KNARESBOROUGH - 18/03/07

The ‘Sex Pistols Experience have played U.K’s live circuit for the last 6yrs and even attacked the USA tour scene last year. Playing here at a newly establishing venue and platform for live bands in the massive and newly converted old town hall venue, Daddy Cools, ‘Johnny Rotter’ takes to the stage with all the manic, man-possessed energy of the original JR. With stare & stance down to perfection and an arsenal of one-liners to boot. There was good humoured banter between SPE band and audience - the night started with the punters being called ‘a lot of fat b*****ds’ and the punters glibly retorted f***off. The band then said they were all c***s .. etc. It was an amazing atmosphere and was actually all good humoured and absolutely no hint of any trouble. SPE came across as dynamic and exciting as the real deal. Combining all the spit & venom of the heady days of the 77’ period, blended with the ability of the seasoned musicians to re-create the same electric atmosphere & awesome wall of sound.
Support act Eddie Tenpole Tudor was also quite a laugh.. very Marty Feldman with his goggle eyes.. and animated stomping during his acoustic set... He slightly shocked even the time hardened punk audience when he explained that he got kicked off the Crystal Maze hosting spot ‘after sleeping with one of the contestants!!’ He also played ‘Who Killed Bambi’ which he
quipped ‘playing this over the years has driven me slightly mad’... well many a true word said in jest! But lets not forget this guy did briefly step into the shoes of the real Sid Vicious and Sex Pistols band after Sid’s demise... respect!
Eddie joined Sex PE at the end to do a rousing encore of ‘Over the Hills
With the Swords of a Hundred Men’. andy rowson

THE RUMBLE STRIPS - FIBBERS, YORK - 01/04/07

Without introduction they kick straight into the first song, ‘My Oh My’. This infectious beat is introduction enough! With great harmonies from 3 singers, this includes new recruit Sam, the song is both melodic and uplifting.
There is no let up and without pause they are straight into the next song. The first thing that hits you about this band is the amount of energy that they have. It is relentless. The energy and passion that they have for their music is plain to see, with all 5 members feeling the music.

The range of instruments that they have is great. The Sax, trumpet and the piano results an interesting way to make their music and it sets them apart from many established bands. In Charlie they have a great lead singer who can shout and dictate the pace of the song, which is quite impressive over so much passion behind him, he sings with bags of attitude that is reminiscent of Joe Strummer.
This same range of instruments also means any of them can change the beat or take the song off in another direction, creating a competitive element on stage where they “fight to get our little bits heard” says Tom on Sax. This blend allows the togetherness of the band to shine through which ultimately adds to the performance.
With every song comes more crowd involvement, its hard not to dance around when the music is so forceful. There is a distinct sound to The Rumble Strips, but that doesn’t mean that all the songs sound alike, with an impressive collection of instruments not normally associated with Indie bands the direction of any song can be unique.
Next for The Rumble Strips is over 30 dates that will take them to the end of May. The reason for so many dates is due to their involvement in the NME New Music tour, which they are headlining. This is by far the “biggest thing we have ever done” says Tom “we could imagine getting on a NME tour but not headlining it” adds Henry.
Dynamic songs that are uplifting, with infectious beats and tuneful brass underpinnings, delivered with a high level of talent, which makes them very interesting to listen to and a joy to watch. Hopefully it won’t be too long before they are back at Fibbers, next time though the 100 or so here may have a harder job getting hold of tickets, as venues with over 1000 capacity await them in the next few weeks.

words: tom wycks
pic: james jessiman

TV Smith + The Northcoats + Jim Hemmingfield - THE Black Swan - 04/03/07

The Black Swan’s been branching out, manageress Shell putting on creditably varied bills in the tiny wood-panelled room. This evening started with poet Jim Hemmingfield, a skinny lad with lank blonde hair and quite a charming presence. Some of his unflinching observations on everyday grimness hit the mark, but he was at his best recounting painfully honest tales of times out with his mates.
The Northcoats, a Billy Childish/Thee Headcoats covers act replete with deerstalkers, had a hard slot being on before TV Smith, and because everyone had been expecting Eva Braun & The Ghouls’ leather-clad burlesque. Very few seemed familiar with Mr. Childish’s primitive garage ouevre, but all that said, they seemed to lack conviction and only really came alive with a gnarly snarl through “You Make Me Die.”

TV Smith also has the past to trade on, having penned a clutch of punk classics with The Adverts. But after a couple of other bands, he’s released half a dozen or so solo acoustic albums, and that’s how he plies his trade; an impassioned, political, rough-edged troubadour ageing with a certain degree of grace but with fire and energy intact. Indeed at first he’s so energetic, jumping and manically strumming that he was actually quite disorientating to watch. If one were to criticise, he played for so long that it started to get a bit samey, particularly when many of the tracks carried similar borderline-hectoring themes of government / privileged classes / Western societal structure bad (and by implication old punks / anarchists / drop-outs good). But that may be down to this reviewer’s attention deficit and liberal woolly-minded dislike of too much “us and them” posturing, and there was tons to enjoy. Lyrically he really hit home when he broadened his palette: “Not In My Name”’s rallying call; “Walk Away”’s earnest exhortation to turn the other cheek and find your own path; and, most impressively, “March Of The Giants”’s declamations against out of control science and “Expensive Being Poor”’s grimy exposé of breadline life, potential underground modern folk classics if ever there were any. Smith is comfortable with his Adverts past, so sure enough “Bored Teenagers” and “No Time To Be 21” popped up. Less expected was a blistering “Gary Gilmore’s Eyes” and a truly hairs on the back of the neck-tingling, passionate “One Chord Wonders”, all the more impressive for being delivered solely on an acoustic. Breathtaking stuff, and sandwiched around his sarcastic-yet-joyous reflection on punk, “My Punk Rock Poem,” to show there’s realistic humour alongside the spit-flecked rose-tinted specs. All in all, this was an excellent show and proof that Smith is an under-valued solo artist deserving of a bigger, younger audience - long may he continue.

words: tim procter
pic: dean saint john

BLACK DIAMOND HEAVIES + ROTTN KARMA + UNDERGRASS + WHITEFIRE - CERT 18, york - 28/03/07

Wednesday. The sun is out, people are happy - seems a good reason to kick back with some top quality southern fried blues rock. Indeed. The line up tonight boasted some fantastic talent and from the pedigree involved it looked like it wasn’t going to disappoint.. it didn’t. First up on the night were newcomers to the Cert stage WhiteFire. Armed with impressive stacks and even more impressive hair they very much looked the part of a 70’s hard rocking outfit; and that is exactly what they delivered. Great rocking song after great rocking song they wowed with succulent guitar solos and delectable vocals. Full on energy and stage presence makes this band incredibly watcheable and their sound is so tight that when they kicked into Free’s ‘Wishing Well’ it was like listening to Free perform it at their best. Glorious - check them when their in town again. Up next were relative newcomers Undergrass - born from the rehearsal rooms at the Jam Factory, these guys were boasting only their third gig. My word though, they are good - bluesy indie rock is what they play and the vocals are harsh (in the RIGHT way and absolutely flawless. Great musicianship and a great show with everyone swaggering their way through every note that they flow through their talented bodies! Watch out for these guys, York. Main support fell to the incredibly tight, stomping, swamp rocking, southern fried masters Rottn Karma. They certainly come from a great York Music family tree and this pedigree shows. They are truly a delight. Tonight they treated us to some new tunes, which was a pleasure to listen to. Most York Music scene lovers have a copy of ‘Swamped’ their much loved EP and the new material doesn’t disappoint at all. It’d be great to see a longer set from the boys where they pick the best of their stuff - that would be friggen fantastic. Tonight the new stuff soared and only goes to make Rottn Karma stronger. If you take little bits from every band that went before, throw in a little Screamin Jay Hawkins, Ray Manzarek’s blazing keys and stunning drumming and let it bubble in a witches cauldron, you can pour out the contents on stage and you get ‘Black Diamond Heavies’. John Wesley Myers on lead vocals and keys and Van Campbell (what must be the coolest name in rock) on drums create a sound unlike any other. Loud, blazing, thumping, dark and moody - simply stunning. Every person in the room hung off every note and every dirtily sung song from the Tennessee duo. One of the best live bands this reviewer has seen - and I’ve seen a lot. They’ll be back in October and you’d better be there or as Van said “We’ll eat your family” - which sounds endearing in a southern drawl. Just the best.

words: a. nonymous

TRASHSTOCK: DISARM + ZEN MOTEL & PATCHWORK GRACE - CERT 18, YORK - 29/03/07

Trashstock… it suggests sleaze, glam rock and punk all mixed together in a blender with some leather and tight jeans to spice up the mix… and that’s what we get from Patchwork Grace. Each member of the band moves around, and tries to work the three person crowd into a frenzy and plays some pretty catchy pop punk too go along with it, and that’s all you can ask. Newbies to Cert, the Nottingham band glam-punks are keen to impress and do tonight, they are without a doubt the highlight of Trashstock’s opening eve.
The chaotic, twitching of lead vocalist Tori Trash captivates and confuses us, perhaps she is blatantly ripping of Karen-O (Yeah, Yeah Yeah’s) but perhaps not, there’s also a bit of Queen Adreena in there too. The sound is very similar, but considerably heavier with more guitar and distortion, efforts like “Zebra” and “Cotton Defect” are great standouts tonight, definitely a band to see up close.
Zen Motel are a good band, they play solid music, and know how to write a song, just lend your ears to the infectious “So Selfish Too” and you’ll see that. The problem is, the songs can be all too similar, and the way they move on stage for all their effort just appears a bit stayed in contrast to the other two bands on the bill. On top of that, Powerful stuff though this is, it appears to me that this hard working band are trying to be something they are not. Indeed, Zen Motel are trying to appeal to a market that they don’t need to be in….the melody present within quality efforts like “Dress Code Violence” are far more akin rock on most occasions than they are to punk, though there are obvious elements. The vocals are more Motorhead or Supersuckers than Rancid or The Pistols.
Tonight headliners Disarm display the flair, ferocity and sweat that makes them a band worthy of your eyes and with a warning sign at least, your ears. They charge their way through 30 minutes of angry and affecting Punk rock, and again, it’s nice to see the headliners give every inch of themselves to Cert tonight, despite a sparse crowd. To you dear reader, I say go see them, the live energy from all the members is deserving of a far bigger crowd than this.
“Faster, Faster, Kill” is a huge and debauch tune and this takes prominence for the headlining band tonight. It’s not about pride here on the opening night of the Trashstock tour, it’s about playing good music and having a lot of beers… though there should have been more dancing.

words:dom smith

Father + Dysfunction + Blackout + Pantheon - The Junction, YORK - 22/03/07

So where was everyone? Was it because it was a school night? True metal fans care not what night it is! Likewise, Croatian metal maniacs Father didn’t care that The Junction was disappointingly only a third full – they’ve supported Anthrax and Rollins back home, but they’re not above giving it 110% in a dingy pub on a cold Thursday night.
The painfully young Pantheon got things off to a good start, ripping through their grindcore-tinged thrash, all skinny and black-clad, with twin blonde-locked guitarists making like junior Bill Steers with their helicopter hair headbanging. They are a work in progress; the singer could do with more presence and gravel-gargling, but their atonal solos and crunching attack show real promise. Blackout were less engaging – their power metal was technically precise, and singer / guitarist Lee is an energetic front, but they somehow didn’t quite gel. Scarborough’s Dysfunction appear to have merged with fellow seaside riffmongers Mantra, as they now include Mantra mainman Ollie and bass slinger Kat. They’ve also absorbed some of Mantra’s sound, giving their tight thrash a stomping stoner groove, and adding Ollie’s gutbucket doom growl to the Dysfunction mainman’s strangulated larynx. When it works – “Our World,” the awesome “Wither,” “Touch the Blood”’s metronomic dirge - it’s brilliant, and they could be onto something excellent.
Father are a cut above, a laser-precise metallic rage. Comparing an Eastern European outfit to System of a Down may seem obvious, but there are similarities. Like SOAD, Father are unafraid of throwing in off-kilter influences, so there’s plenty of high, wailing harmony vocals that evoke their homeland, and when they ask if we remember disco, it is indeed disco that they unleash on “Machina,” albeit insane power-stomping disco played by velociraptors in tanks. Also like the Armenians, Father are a storm of blurring energy. Singer Mihael Prosen is dervish-manic in his Buddhist monk keks and eyeliner, dancing like a madman, saluting, making like he’s lecturing a rally while unleashing an impassioned howl. Not that the others are slouches, guitarists Davor Tomic and Dario Pazinin throwing mad shapes and bassist Fraño Jardas trying to fold himself round his instrument. Where Father have more in common with, say, Tool, is their metallic approach, letting complex tracks like “Emon” and “Cynosure” unfold like nuclear-powered puzzle boxes, underpinned by Sasha Vukosav’s ultraprecise drumming. They end with the mellow “Seashore” and a surprising cover of “Eleanor Rigby” that creditably isn’t power-metal parody but actually gets at the despair in the original’s heart, courtesy again of Prosen’s emotive vocal. Father have the talent to be huge, and catching them in this intimate setting felt special. They’re back in July – only a fool will miss them.

words: tim procter
pic: rob scott

SPIERS & BoDEN - NATIONAL CENTRE FOR EARLY MUSIC, YORK - 13/03/07

Support Phil Cerny has a fine collection of instruments and a few interesting tunes up his sleeve. He has a light touch on the guitar, which is marred by a tendency to go rhythmically AWOL from time to time. In his favour, he does possess a pleasant light tenor voice, reminiscent at times of Ry Cooder and his transatlantic accent adds a veneer of authenticity to American folk songs.
John Boden is long, lean and lightly bearded, dry of wit and fleet of finger. Though not prone to ostentatious displays of fiddling pyrotechnics, he produces a warm, textural sound that complements his partner’s playing beautifully.
Jon Spiers is shorter and smilier and plays the melodeon (like an accordion, only with a few rows of mint imperials where the keyboard should be). A breathtakingly good musician, he often appears to be totally lost in the music, eyes closed and dancing as his fingers flit across the keys.
Using only a fiddle (or guitar), a melodeon (or concertina) and an amplified “stomp-box”, the duo produce a remarkably full and dynamically-nuanced sound. It’s traditional music, but there’s a keen aesthetic sensibility at work. A dark edge, a touch of Kurt Weill astringency, a dash of Tom Waits skewed barrelhouse jive.
It’s a lot to ask of an acoustic duo but it works because it’s so tight. The way they sprint through lightning fast jigs, reels and hornpipes in effortless synchrony is breathtaking. They’ve obviously spent a lot of time playing together over the years and their mutual appreciation is palpable.
In addition to the dance tunes, there was a fine selection of sea shanties, ballads and story songs. There is a definite thread of darkness running through the repertoire. “Child Morris” unfolds along traditional lines: Boy meets Girl, Boy gets beheaded, Girl is not best pleased. As Boden wittily put it, “If you nodded off and missed the end, he died.”
Although the songs were often not so much tinged as soaked with tragedy, the show was by no means depressing. Offerings like Horn Fair (“possibly the naughtiest fair there has been in Essex”) and Frozen Gin (“a tune I wrote when my gin froze”) kept the audience smiling. The between-songs banter, showed a warm and humorous side to the duo, as did the impromptu rendition of the theme from Bagpuss. Traditional music can seem samey and slightly dull to modern ears, carrying associations with Morris dancing and other unfashionable pursuits. It takes musicians of great intelligence and skill to make this music live and breathe. Luckily, Spiers and Boden are just such musicians.

words: jack tarkovsky
pic: phil myers

BOTB - 1ST QUARTER FINAL - THE JUNCTION, YORK - 04/04/07

There was a good crowd in tonight, and a lot of them had come to see the first band on. Exile describe themselves as metal rock. They certainly do that. They had immediate audience participation which carried on from the opening bars to the last outro. The audience were going for it with mini moshing and lots of headbanging and they loved every minute of it. They rattled through a six-song set, only pausing for breath when they did the slightly slower “Words”. They work the audience well, engage in banter and appear to enjoy themselves on stage. Had Evelyn been playing (they withdrew from the contest) then I suspect the audience may have had split loyalties. Evelyn’s loss is Exile’s gain.
How could you follow a storming opening set like that? With the completely bonkers Fistful Of Yen. They have a panda fetish and a thing about dressing up on stage. These three young men cannot be pigeonholed they are completely original. Band influences would seem to cover a wide range of genres including reggae, a hint of The Clash, a hint of The Flaming Lips, rock, punk, you name it, they play it. It all sounds very disjointed, with what would appear to be erratic song structure, shouty lyrics, and a randomly played Telecaster cutting through everything else. However, it is not. It is very cleverly done and well rehearsed. They are superb musicians hitting every note and drum beat just as they want to. I think they set out to baffle the audience, and judging by tonight’s reaction, half the audience understood it, the other half couldn’t believe what they were seeing. The song “Trevor” has got the lyric of the contest so far “You tried to change me, before my ego saved me”. Excellent stuff.
Last on was The Plug from Northallerton. This four piece are older and more experienced and practiced than the previous two bands. Bens drumming at the beginning of the opening song filled the room, and some of the audience were soon dancing to the Celtic(ish) rock The Plug were playing. As soon as they hear a fiddle, some people think they are Michael Flatley and start doing the pissed Irish dancing. The Plug liked it, and the dancers were acknowledged with a grin. They did a cracking version of “All Along The Watchtower” and finished with “Vampire Eyes”, a song about not sleeping. They even had some of the metal fans dancing to that one.
It was very close when it came to the audience vote. Exile got it by three votes over Fistful Of Yen. The judges eventually went for The Plug because of the quality of their playing and songs. However, Fistful Of Yen are so different, and so original, that it was decided they should be offered a place in the wild card semi final play off. Everybody won in the end.

words: paul cunniff

Please Please You presents: Desert Hearts + CATWEASELS - City Screen Basement, YORK - 07/04/07

Ok, so did tonight please please me? The answer is yes.
The basement was bursting with energetic vibes and the atmosphere was buzzing - definitely bank holiday syndrome! First up Catweasels, punk vs. power-pop. Their sound is eclectic and they have a bohemian style which is to be compared with the likes of other eccentric bands, i.e. The Kings of Leon. Although I found it slightly complicated and unpredictable, the Catweasels have a fussy un-expectedness in their music which is exciting and reminds me of early Libertines. The Catweasels have good style and grace on stage and look as if they are having the time of their life, adding to this effect with some rockin’ out action. They created a dynamic impact - it was like The Who meets The Killers and with their riotous, catchy lyrics and Bluetones-esque harmonies, these five lads from Chester-le-Street captivated the audience from start to finish with some cheeky banter thrown in too.
Next up is Belfast band Desert Hearts and I must say it’s cool to see a pretty young lady on bass. The first song started and I instantly felt like I was in Ireland, it had a slightly 60’s folk tinge to it but it was mixed with heavy rock riffs. The performance was messy but tight, similarly compared to the style in which Hendrix played live. It was furious and fast and one guitarist fell over, but carried on playing whilst on his back on the floor. Heavy 90’s indie influences are heard throughout; the mellow sounds they produce remind me of Nirvana. The male/ female vocals put a Pixies style edge to their songs; they were mesmerizing to watch and made my ears tingle. Desert Hearts delivered a raw and intriguing set - with their dreamy harmonies put side by side with the male vocalists metal growl and the rockin’ Irish sound - they are definitely worthy of Glastonbury Festival.

words: annie albericci

BLOOD ARM + METRO RIOTS + THE SUGARS - FIBBERS, YORK - 04/04/07

catchy chorus and hard bass drum is all that is needed to plant music inside ones brain. A foolproof way of making it within the music industry, it has been used by countless musicians and songwriters, either launching their careers or creating an embarrassing one-hit monster to whom they want to leave behind closed doors, and never speak of again.
Armed with a memorable jingle, and an album full of songs to strengthen their shield, The Blood Arm fight this monster, and dodge being remembered purely for their not-so modest tag line.
First up, Fibbers are revisited by young duo, The Sugars, and we are graced once again by their still pristine appearances. After a few giggles from the audience their 1950’s style stage play sets in, and they follow with a sound much more mature (if possible) than the last time I saw them, supporting the Spinto Band. Anna and Matt exchange seductive looks as if no-one watching, and swap secret lyrics between themselves complimented by Anna’s sickly sweet voice, and Matt’s punchy guitar, they glide through their set.
Next were London’s Metro Riots, just back from SXSW, the legendary annual Texan film and music festival, in which everyone who’s anyone and plenty of undiscovered bands play. This energetic four piece are all shook up, about to explode through their set, carrying a menacing attitude, donning leather and darkened aviators. Their fast-paced punk blues fusion starts well, but slowly turns into something seen too many times before. With little variation between songs, and an all too stereotypical commercial sound, attention is lost, and turned towards an itch for The Blood Arm’s festivities.
The Blood Arm take to the stage, a long black haired, red lipstick wearing pianist strikes the first chords of “Stay Put” soon followed by Nathaniel’s cabaret vocals. Fun renditions of chanty melodies from the album are given, with frequent visits into the crowd, kissing of girls foreheads, and group sit-down sing-along of “Angela” makes this increasingly enjoyable.
After new song “All My Love”, Nathaniel announces they are going to be playing a cover of a Fall Out Boy song, but tricks the crowd by crying out the resonating lyrics of “Suspicious Character” (“I like all the girls!”)
After an abrupt end with “PS. I Love You...”, they return to the stage for a final performance of “Dolores Delivers A Glorious Death”.
They definitely lived up to their lively reputation, experience these live.

words & pic: james jessiman

[spunge] + Short Warning + Make it Better Later - Fibbers, YORK - 04/04/07

Ska comes in many shapes and sizes. At Fibbers on the 6th April we witnessed ska-pop-punk-rock in the form of [spunge] and others. First up are Make it Better Later, a local York ska band whose lyrics venture from pirates to ninjas, the Gallery Nightclub to Eric Cartman. They may not be the most serious band in the world, but they make you laugh and make sure you have a good old singsong. Once you know all the words they’re the best band to song along to. And they have a ska-violin. What more could you want? Next up is Short Warning, who seem misplaced at a ska gig. Despite some of the crowd not really being on their side, but they still gave it their all with classic punk-pop. And on come [spunge]. Their name says it all. The brackets are to stop the letters falling out. Their sound is more familiar to the USA ska scene. Imagine Less Than Jake, Reel Big Fish or Lightyear from Tewkesbury. Perhaps their style of USA ska-pop is outdated in the UK ska-punk scene today, but the crowd still loves them. It’s the cartoony energy they posses to make the crowd pogo/skank/mosh and basically throw themselves around. And the band themselves are all to ready to jump across the stage. This music is hyperactive and fun…almost bouncy. [spunge] go out of their way to make sure the audience can not only dance, but sing along, covering Mr. Costello’s classic ‘Oliver’s Army’ ska style, as well as being the only band ever to be allowed to change the words to ‘No Woman, No Cry’ by the legendary Bob Marley. [spunge] opened with the ecstatic ‘Jump on Demand’ which, no surprises, made the crowd jump on demand. Similarly, ‘This is a skanking song’ has a similar effect. They finished with the super-bouncy track ‘Kicking Pigeons’. Even if you’ve never heard this track before it’s not hard to pick up the lyrics based around booting pigeons. They may not be the most poignant lyrics but they’re fun and do surprisingly have subtle messages. Overall a crazy night of pop-ska. I just wish they didn’t all sing in American accents all the time. henry raby

Rory Motion and the Travelling Libraries - The Winning Post, YORK - 30/3/07

Where do you start? Tonight’s show had elements of music, poetry, stand-up comedy, music hall, polemic, performance art and wittering. Imagine a gently-subversive Yorkshire eccentric, backed by a band of real class and ramshackle power - Alan Bennett and the Bad Seeds. Very hard to sum up in a single word but, if pushed, I’d settle for daft.
Veteran of stage, screen and radio programmes about bicycles, Rory is a consummate entertainer. His material covers a wide range of subjects, from biscuits to washing machines via chutney and bees, and is all underpinned by genuine warmth and gentle anarchy.
At the heart of the act is Rory’s sheer joy in the workings of language. He has a great ear for words, equally alert to the semantic nuance and the groan-out-loud pun. While influenced by the likes of Spike Milligan and Ivor Cutler, he is his own man and a writer of real talent. Unrelated to Andrew Motion, he is arguably a better poet than his laureate namesake. He’s certainly funnier.
Rory’s linguistic thirst occasionally takes him beyond his own native tongue. He is fluent in a Yorkshire dialect impenetrable to all but a handful of pensioners in Huddersfield. He once performed a stand-up tour in Chinyanja (a language spoken in Mozambique), and has the Radio 4 documentary to prove it. He also delivers the odd song in French. There are some odd ones in English too.
A performance by Rory Motion and the Travelling Libraries is not just about the words. This band can really play. Big, angular grooves built on rock-solid drumming and Malcolm Wignall’s soulfully thrumpy basslines. George Hall’s effortlessly musical keyboard contributions provide the perfect foil for Mike “Bridlington” Jackson’s skittering shards of glassy guitar.
Although clearly under-rehearsed, in places the band simply took off and flew. In other places, they did not so much fly as plummet, but always in a musical or entertaining fashion. Sometimes both. On “Welcome to the Washing Machine”, they sounded rather spookily like Pink Floyd, before morphing into The Band for “Clementhorpe Woman on my Mind”.
An evening with Rory Motion and the Travelling Libraries has a lot to recommend it. This is locally grown, ethically produced poetry/music/art/buffoonery. It is also very funny. Go see ‘em, anything could happen.

words: jack tarkovsky
pic: pete mitchell

THE UN INSPECTOR – THE STUDIO, YORK THEATRE ROYAL - 16/04/07

As the theatre went dark and the actors made their abrupt entrance onto the stage, I suddenly became aware that the entire cast was unusually young. I pondered over the cheap ticket price and wondered why so many of the audience wore such patronising grins. Then, in an instant, everything clicked: I had inadvertently stumbled into a Youth Theatre production.
The play was the The UN Inspector, a recent adaptation of Gogol’s The Government Inspector, which retains the structure of the classic farce but updates the jokes. The setting remains some small pokey nook of the Russian Caucasus with an incompetent government wallowing in petty corruption like fat pigs in mud. When an Englishman in a suit is spotted at a local hotel, they inevitably mistake him for the much-feared UN Inspector and much hilarity ensues.
Seeing people younger than yourself prance about on stage is at first difficult, and for the first half hour or so I sat uncomfortably in my seat as the actors showed off to their captive audience in rather poor Russian accents. But, as their roles became more obvious (farces tend to be quite formulaic, I suppose), they quickly became bearable, and then even enjoyable, and by the interval I had guffawed several times into my overpriced drink.
The dialogue was stuffed full with jokes, with much riffing on the preening pomposity of almost every character, and with constant recourse to the stereotypical machinations of laughable dictatorships and of estate agents. Even if occasional lines were duds when delivered inconvincingly, the quick-fire barrage of humour ensured constant smirks and cackles amongst the audience. I soon became blind to any shaky acting that there might have been and was a bit put out at having to leave when the play came to its melodramatic end.
In short then, seeing the Youth Theatre can be a good laugh, and easily worth the paltry £3 or so it is to get in. I still suspect that anything more self-important or serious-minded than a farce could be more difficult to bear, but it’s surely worth giving them a chance.

words: colin h