june 2007: live reviews

Arcana + Tidal Fury + The Bitter Image + Breakout Degree - Fibbers, york - 11/04/07

As soon as I stepped through the doors the heavy rock riffs nearly knocked me off my feet, loud and bouncy Arcana were already revving up the crowd with their thundering anthems, although the night was young – the audience were in high spirits and excited about the immense line-up to follow.
The cheeky Tidal Fury boys instantly made the already buzzing crowd grab their air guitars for a jamming session, you can tell these lads love an audience and always perform riotously for us.
Tidal Fury played meticulously and had us all head banging from the beginning of the set, with songs such as “High Tide” and “Put Your Eyes On Me” – these boys are to be compared awesome mosh-pit bands such as Cooper Temple Clause and Guns ‘n’ Roses, a definitive clash of rock styles, taking old school riffs and mixing them up with modern indie-rock melodies, Tidal Fury have a distinctive image and sound which makes for intense viewing.
Next up to take the stage is York’s answer to Queens Of The Stone Age – The Bitter Image, who were also on top-form this evening, opening the set with one of their most hectic of songs “Beautiful Disaster”. With the crowd already looking like a sea of sweaty hair, The Bitter Image denied us a sit down and kept us moshin’. This lively cavalry know how to create a frenzy on stage.
The Bitter Image have experience behind them, this shows through in their gigs and proves their versatility and stability as a rock band – I know this is a quality every rock band desires, but only some bands have it – The Bitter Image have it.
Headlining act Breakout Degree have come a long way in the past few months, and I must say I’m incredibly proud of them. To have a headlining gig at Fibbers in York is an achievement in itself - but to live up to that title is the hard bit. They ruled the night and did it justice.
Breakout Degree had themselves all dolled up to the nines, new guitars and new songs. Just in this one gig I saw them transform from a talented little uni band to a classy professional rock band. Their gig was performed with adult style – mature but with the angst attitude they traditionally own which brought a new edge to their songs.
“Angel” and “Blackaberra” were superbly delivered, the passion was booming with every stroke of the strings and beat of the drums.
From start to finish, the whole night was an awesome success, no flaws and no hiccups. The sweat-drenched crowd were full of praise and towards the end of the night you couldn’t move from the swelling egos – and rightly so.

words: annie albericci
pic: andy stanistreet

VAN EYKEN – NATIONAL CENTRE FOR EARLY MUSIC, YORK – 02/05/07

The Big Finish of this season’s collaborations between the NCEM and York’s Black Swan folk club opened with a fine set from young Leeds-based duo, Katriona Gilmore and Jamie Roberts. Jamie is a dazzling guitarist and first class songwriter, complemented beautifully by Katriona’s sensitive fiddle and harmonies, establishing them immediately as an act to check out in their own right, as you can at a number of festivals throughout the summer.
Tim Van Eyken is no stranger to the NCEM, having appeared before with folk’s ‘ruling dynasty’, Waterson:Carthy. This time, however, he was fronting his own eponymous outfit, in the wake of his/their four nominations in this year’s BBC Radio 2 Folk Awards. And right from the start, it was clear why this act has been causing such a stir. Van Eyken himself is a captivating frontman, with possibly the most contagious grin in music as his distinctive, unaffected voice channels timeless, well-worn tales of love and, of course, death – ‘there is, of course, a body count,’ he quips, introducing one of the ‘happy’ songs. Apart from his dexterous accordeon and delicate acoustic guitar, the songs are embellished with Olly Knight’s sinuously vibrant lead guitar, Nancy Kerr’s seductive violin, some positively subterranean bass (and a touch of euphonium, if my limited knowledge of brass instruments isn’t leading me astray) from Colin Fletcher and wide-open, clattering drums, percussion and clockwork ducks from Pete Flood. If a couple of these latter items sound a bit gimmicky, this is certainly not the case. For, whether it is the unadorned vocal performance of Lovely William or the full-on folk-rock of Fair Ellen of Ratcliffe, at the core of the performance is a respect for the songs themselves. Consequently, washes of distorted guitar, bowed cymbals and all manner of ‘World’ influences mesh into a unified – and still very ‘English’ – sound, enhancing and emphasising the power of the material, when many lesser acts would (and, alas, do) merely dilute it.
Highlights included, naturally, this year’s BBC Best Traditional Track, John Barleycorn – a song recorded countless times but which, with their loping arrangement (curiously reminiscent of Lou Reed’s Walk on the Wild Side), once again sounds new and exciting. Elsewhere, the swaying, stamping groove of Bonny Breast Knot / Barseback Polka, Babes in the Wood’s drunken fairground menace, and the dynamic, as-yet unrecorded Tailor and the Flea (biting anti-war allegory or a song about… er… a tailor and a flea?) were high points in a thoroughly captivating performance.
The set ended with an appropriately joyous encore of Twelve Joys of Mary, complete with additional thumps and rattles from percussion devices handed out to the audience. As a coda, the performers processed from the stage – a ragged marching band carrying the songs and their celebrated tradition with them, and leaving the audience whistling, humming and carrying that grin out into a warm summer night.

words & pic: oz hardwick

Ray Davies + HaYley Hutchinson - Grand Opera House, YORK - 03/05/07

For some reason Hayley Hutchinson was on before the advertised time, so I only caught a few songs but suffice to say she’s got an impressive voice, and plays beautiful folk tunes on her acoustic guitar. Then on comes the living legend Ray Davies. It seems to me the ex-Kinks front man is notarised for his gentle lyrics, but Davies kicks off with loud rocking numbers ‘I’m not like everybody else’ and ‘Where have all the good times gone?’ He mellows out to play some slower tracks from his solo work, influenced by US folk and blues. They are unsurprisingly audience-pleasing with quite traditional lyrics. Speaking of the audience, it was dominated by the old school fans, despite the fact it seems quite trendy for all the hip new indie bands to name-drop the Kinks as an influence. Davies changes shirts as often as he changes guitar, employing at my count 4 different guitars, swapping one because it didn’t have the right feel. Whilst Davies does have an air of pride about him, not afraid to mention disputes with his brother among others, he does demand that we all applaud his backing band and technicians and constantly encourages singing along and hand-clapping. The man’s a born entertainer, occasionally sitting down but soon up on his feet putting on an energetic show, not bad for a spry 62-year old. The second half gets the front row dancing for ‘Come Dancing’. His guitarist Milton MacDonald, not afraid to rock out in the background, joins Davies for slower numbers which really brings out the softer side of Davies with unforgettable numbers like ‘Sunny Afternoon’ and ‘Village Green’. Davies likes to add some humour to his set, commenting he played in Scarborough years ago. Some audience members call out: “We were there!” to which he replies: “So was I”. After the anthem ‘Lola’ he finishes off with ‘You Really Got me’, starting off with a strong blues feel telling a story of it’s creation before exploding into the song many call the blueprint for garage rock before finally taking his final bow. Davies hinted there might be a Kinks reformation or at least some collaboration. But alone, Davies certainly hasn’t lost his flair for performance.

words: henry raby

The Blueskins + Rule of Forty + The Falling Spikes – The Junction, YORK - 21/04/07

The travelling army of supporting fans, such a boon to band trying hard. But you do wish that sometimes those travelling fans would pay attention to the other bands on the bill, because they’d see something really good, and the bands would benefit. Rule of Forty have a lot of fans in tow, who spend much of the night in The Junction’s front bar and thus miss out on a majestic Falling Spikes set. ‘Saturday’ is a particular highlight, but even better is the untitled newie with which they open, Chris Wilkinson’s desert twang suddenly being attacked by sheets of Mogwai-esque noise from Moz’s grinding keys and Mike Sanderson’s distorted guitar attack. More of this soon please.
Rule of Forty are slick, upbeat, energetic, and possessed of the aforementioned fanbase who bracket their set with terrace chants of “Forteee, Forteee.” But they seem to be an amalgam of two bands, a bunch of young punkoid aggro-wavers in a shotgun marriage with two older pub rock-loving guitarists, and they don’t quite gel. And frankly, if you only use a theramin for your intro, you shouldn’t have it on stage at all. Their singer does have an excellent voice and their following suggests they have appeal, but given the bands they’re sadnwiched between, they pass me by.
The Blueskins have been hovering on the cusp of bigger things for a couple of years, and it’s damn refreshing to see that they’re giving 120% despite the fact they’re still playing the pubs. They rip though a wired, maniac set of high-energy bastard blues / Led Zep / punk mayhem, barely pausing as they fling song after song off the stage to the baying faithful. While singer / guitarist Ryan Spendlove is the natural focus of the band, lead guitarist Andrei is just as animated, at one point accidentally hurling his slide into crowd, cueing much scurrying and scrabbling while the band rip on. Older tunes like “Stupid Ones” are natural highs, newer songs like the insane circus waltz of ‘Silicone Puppies,’ which catalogues the world’s insanity with a 3 foot wide grin, suggest that The Blueskins are not only alive and well, they’re still fizzing with potential. Top band, top gig – part of me wants them to really get there, but selfishly, I want to see them up close and personal in back rooms like this again.

words: tim procter

36 CRAZYFISTS + TWELVE TRIBES – FIBBERS, YORK - 09/04/07

With non-descript noise to open Ohio natives 12 Tribes appear to be something innovative and exciting to start of proceedings on this highly anticipated night. Of course they have the cliché metal/hardcore look about them, some dredds…big beards, you know the drill. Though the band more than rise to the occasion because they seem to rock the socks off of this packed out Fibbers crowd.
Arguably more ferocious than the melody driven screams of Crazyfists, they do not spare a single moment to break from unleashing a full onslaught upon us. With a heafty back catalogue of work, including the catchy guitar driven hooks of “Midwest Pandemic” and the brutal and progressive “Venus Complex” (aided by the “burly” Brock Lindow, vocalist from 36) Twelve Tribes pull of a very impressive and explosive debut.
After what seems like forever and a day in terms of antici….pation at least, Alaska’s Supercharged 36 Crazyfists take the stage. Intricate chords launch the beautiful and spine shattering “At The End Of August.” Of course this is the cue for bodies to REALLY hit the floor, (and may I add Twelve Tribes did a grand job setting the mood) everybody gets in the pit, it’s a touching moment. People are thrown away numerous times and picked right back up again…*sobs* …how sweet it is! Standout tracks like “On Any Given Night” and “Fell Through a Phone Line” are two examples of the “newer breed” of songs in the popular Crazy-catalogue, showing the power of these guys and in turn, their relevance to the metal scene today. In my view at least 36C can now be a blueprint for other metal and hardcore acts.
With the passion and drive behind their unique angst ridden brand of music there is nothing stopping them now. 36 Crazyfists tonight show that they love it intimate, they are here for the music...music that people will sweat for and pound their fists in the air, way more than 36 I may add. If they so happen to miss the air and hit you in the face….you know you will just get right back up and continue rocking out just because you can and you know you should. This is the spirit of music and rock, and tonight the spirit of ROCK, wears us like a glove.

words: dom smith

98 Pages + ROLLING THUNDER + GET VEGAS + ARCANA - CERT 18, YORK - 20/04/07

You could tell something was in the air when the audience included members of The Universals, Tidal Fury, Breakout Degree, The Airheads and Rottn Karma to name but a few. Ok, it’s not the same as when I sat next to Iggy Pop at a David Bowie concert or spotting Diana Ross at a Kiss gig at Wembley, but the elite of the York music scene were there to support.
First up were recently signed band ArcanA. The last time I had seen these guys was at The Paul Hunter Tribute Concert in Pocklington.

On each occassion I’ve been priviledged to listen to them, they’ve grown and developed into one of York’s ‘must see’ groups. Their style is Lynard Skynard meets anyone else who is good at solid rock and blues.
It was the first time I had seen Get Vegas in action. Their reputation preceded them though on MySpace and at the various venues that I’ve worked at. They are like a modern day Free. Their lead singer has a quality Paul Rodgers type voice which is ably accompanied by the lead player’s stylish guitar work. He sounds like Paul Kossoff, looks like Rory Gallagher and plays like a dream.
Rolling Thunder were out and out showmen. Muscular, Blonde, Extrovert and maybe a tad camp. But believe me, they were stunning. The lads are from St Helens and to me are Merseysides answer to one of my favourite York bands, Tidal Fury. If you like solid, leg’s apart, posing rock, then this is the band you will enjoy massively. If I found a magic lamp and was granted three wishes, one would be to put Tidal Fury and Rolling Thunder on the same bill. If there is a genie reading this, get it sorted mate.
98 Pages had changed the Cert 18 backstage logo to read 98 with the use of white paper and sticky tape. I believe a Blue Peter badge is winging it’s way to them as we speak. Everyone pushed forward so the stage was surrounded. I couldn’t move, but what the hell, this was a fantastic finale. 98 Pages are a three piece blues and rock band that have a smidgen of Taste and Rory Gallagher about them. If you’re thinking ‘who are Taste and Rory Gallagher’, no worry. The guys playing tonight know, and that’s all that matters. The fans lapped up each song.
If you haven’t been to see any of the musicians on tonight and you like rock, glam, blues and style - with fun thrown in. Treat yourself and catch them live as soon as you can.

words: rob scott
pic: david x green

DIRTY RIG + DEADEYE + TIDAL FURY + MANTRA - CERT 18, YORK - 03/05/07

Dirty Rig. Hailing from New York, the band has one hell of a pedigree. Lead singer Kory Clarke is one of rock’s most enigmatic, energetic and accomplished frontmen. Having honed his skill with his former band Warrior Soul, Kory has graced the stage of Donnington back in 1995 with Metallica, Skid Row, Machine Head to name a few. He’s a proper rock star.
On first; Mantra, one of York’s hardest working bands with one of the best examples in how to make dirty, greasy, heavy hard rock. Olly’s guitar and vocals are the pure all out break horse power drive behind the band and they punch through their set with serious accuracy and stunning tightness. Amazing how they don’t have the biggest following in York, they deserve it.
How else could you build on a night of pure rock? Tidal Fury.. they are fun. They make me laugh – in a good way. The songs are catchy, upbeat and extremely well executed. Graham looks like he’s just pleased to be able to rock out, Mick stands proud catching as many poses as possible and Fin and Stu just rock out. If you get a chance, see them.. they’ll never disappoint.
Up next were the Dirty Rig tour support Deadeye, hailing from Northampton. Rocking, grinding and grooving their way through a cracking set they get the Cert 18 crowd head banging and hanging off their every word. They are reminiscent of Pantera with a Corrosion of Conformity side helping. They were a pleasure to watch and to listen to.
Last but not least we got to Dirty Rig. Believe the hype. A four piece of extreme power and energy. Kory Clarke struts around the stage punching and kicking the air like it’s upset his mother. Buckshot on bass controls his corner of the stage and involves the audience at every chance, leaning in and holding his instrument like it’s a machine of power. Chas on guitar is a master of his instrument cutting through crunching riffs and slicing his way through blistering solo’s and Dave on drums providing the solid foundations of what is a band giving a lecture to the drooling crowd on just how to do it. This IS rock, no doubt about it. If you looked it up in the dictionary, this gig would have a youtube link to it and one hundred points in ‘what to do in Rock’. Tonight they play an extended set, mainly cos it’s the first gig of the tour but also because they love this venue, it reminds them of home they say. Dirty Rig are the real deal. Punch, power, riffs, stomps and they leave us with ‘Rock Did It’ – nope, Dirty Rig did.

words: deuce man.

LYNDON ANDERSON BAND - BLACK SWAN INN, YORK - 13/04/07

In a very private setting on the top floor of the Old Black Swan in York, people were all gathered together with their beers and red wines, indulging in bitter sweet blues with Newcastle’s The Lyndon Anderson Band. Not from Chicago or Alabama but… Newcastle! Davey Duke Dormand with his Fender Telecaster is undoubtedly influenced by Stevie Ray Vaughn in some way, Christine Wilson plays the bass with a very good attitude to the blues, and Kev Hogeson keeps it all together nicely with his drums. Lyndon Anderson is the guy with the harmonica and the voice that reminded some of that guy in The Commitments. Don’t know how fair it is to make that comparison. Anderson is blessed with a soulful voice that allows him to hop about from funk to blues with minimal effort. In fact, with no effort at all. They cover a wide range of anything with blues in it, from 1950’s Chess classic, 70’s funk, southern rock, jazz or swing, they can pretty much cover whatever tickles their fancy.
First on their set list was ‘Gumbo Groove’, a fast pace instrumental that combines blues and soul in an uncomplicated way and, it is their own original (important to point that one out). Anderson kept up a terrific melody with his harmonica which might be to either preserve his incomparable voice or get you ready for a special treat when he gets singing. The latter is surely the case, as we were all dumbstruck when he opened his mouth for the second song, B.B. King’s ‘Country Girl’. Then followed a very special moment - ‘Checkin up on me baby’ by one of my personal favourites, Sonny Boy Williamson. They were like a band that had come straight out of the school of blues. Half the set list was their own material, which is highly commendable, particularly with great songs like ‘Snatch It Back’ and ‘Take My Order’ which was highly charged with groove and rhythm to help you shake the blues off your nervous system. Some of the songs played were straight forward, no nonsense blues, but sometimes the blues met soul and then met funk. Sometimes all three were nicely put together and the crowd was ecstatic. The band needs to work slightly on their crowd relationship though - loosen up a bit. We don’t bite. Aside from that minor/insignificant detail, we were all grateful for a great funk ‘n’ blues evening!

words: s. garção

BEST OF THE BANDS - GRAND OPERA HOUSE, YORK - 04/05/07

Best of the bands aims to encourage local school bands by giving them the chance to showcase their work. But how are the awards decided I hear you ask? Well only the juiciest, ripest bunch of judges will do for our bands. And what a task they have! Fourteen talented School Bands from across York take to the stage to battle it out. With just eight minutes of performance time to impress the judges who has what it takes to stand out from the crowd and steal the award of BEST LIVE BAND? Each band is asked to perform two tracks, an original piece and a cover of their choice. Highlights of the night for me are: The Values, and their cover of Girls Aloud track “Love Machine”. An entertaining performance from an all male band who know exactly how to work the stage and please the crowd. Tonight they walk away with the award of Best Team effort. Olivia Hanson of Kafka has the voice of a young Gwen Stefani, so powerful, you wonder where she hides it beneath her petite frame. Their original piece steals them the award for Best Studio Recording and 3rd place in the award for Top Three Bands. The award for Best Cover rightfully goes to The Haze as they perform “Summertime Blues” by Eddie Cochran. They succeed in making the track their own. They are unique and professional. They also come 2nd place in the award for Top Three bands. The stars of the night though have to be Silhouette Zoo. Their use of an accordion during their performance adds a unique folk sound making them stand out from the other acts. Husky vocals also add a mature sound. Tonight they shine in front of the swarms of supporters and judges and are honoured with the title of Number 1 Top Band and Best Live Band. Their prize is four days recording at Pig Hut Studios, professional artwork, 100 CD’s and digital distribution through iTunes. The atmosphere is incredible, it’s been a great success and I am overwhelmed with the great potential in all the performances. It is difficult to believe that these bands are just at the start of their musical careers as many of them are so talented and show maturity beyond their years. The City of York are constantly working hard and looking at new ways to provide young musicians with facilities to showcase their talents. The music scene is growing everyday and it is exciting to know that York certainly holds some potential stars.

words: emma jackson

Sonic Boom Six + Pickled Dick - Daddy Cools, knaresborough - 11/04/07

It’s my first time at Daddy Cools, a recently established rock club. It’s a large colourful hall, which makes a difference from the small venues we have in York. The owner, Ant Lee, is a stand-up guy and makes everyone feel as welcome as possible. Check it out if you get chance. I think you can tell by a lot by a band’s name. Pickled Dick are first up, their music easily classifiable as pop-punk from the same vein as early-90s Offspring and Green Day. What sets them apart from contrived boy bands is their sense of the surreal. The name for a start, but also their album cover features Space-Pandas, their odd onstage banter, and their guitarist’s explosive hair, half-black/half-blonde, all add to the effect. They open with ‘Battle Axe’ and play at lightning speeds, 2-3 minute songs with spot-on vocal harmonies and catchy choruses. They’re doing their own unique, fun thing. But how to describe Sonic Boom Six, possibly the biggest and most creative UK underground band? They fuse punk/ska/reggae/dub/rap/hip-hop. Phew! But they do it perfectly, and with a message. I’d call them a northern King Prawn, but it’s impossible to pigeonhole them. Their opening song, ‘Bigger than Punk Rock’ criticises punk elitism and their final song ‘Rape of Punk to Come’ an attack on media-friendly music. Blistering rock bass/guitar occasionally mutate into fast-paced ska mixed with intelligent lyrics. The crowd get moshing for ‘Danger! Danger!’ but then take it down a notch for hip-hop songs ‘All-In’ and ‘Monkey see, monkey do’ for which the band discard instruments for samplers to show their versatility. Lead singer Laila Khan struts her stuff on stage, flipping from rock harmony to urban rap with experienced skill. One problem is I wonder if their songs written about urban Manchester don’t translate well here. Still, the crowd love it. They played a new song; the usual ska/punk mix colourfully entitled ‘We want a war’ for their new album, which they’re recording over the summer. I had a chat with the bands, Pickled Dick all friendly blokes and SB6 are full of fresh ideas but, most importantly, a sense of direction. This isn’t chart music; this is the new underground sound.

words: henry raby

VAN HOOLIGAN – ROMAN BATH, YORK - 15/04/07

York’s Roman Bath has become the regular host for this metal hitting, hard rocking band from Doncaster. They claim to be interested in girls and groupies as lead guitar Carl reveals on his Myspace headline, and these guys are truly rock ‘n’ roll pigs. On this night they left us all sweating and gasping with numbers like ‘Hell Aint A Bad Place To Be’, ‘Highway To Hell’ and ‘Whole Lotta Rosie’. They turn rock’s classics into 21st century metal, desperate to get back to basics and relive the days of ACDC, Steppenwolf and Van Halen.
Their gigs are usually loud and boisterous, showing no mercy for tinnitus sufferers. ‘Wild Thing’ and ‘Born To Be Wild’ are numbers not to be missed and Carl Morley does a fine job, especially with his solos standing on a table. What is noteworthy is lead singer Pete Eccles whose powerful voice makes the show worth getting to. Rest assure that when you see him in his cool dude shades, black leather trousers and black top, he’s not just gonna stand there and look handsome – he’s gonna rock your world, at least that’s his plan and he’s got the talent for it.

words & pic: s. garção

Phoenix Dance - York Theatre Royal - 26/04/07

It’s rare to see such talent in this neck of the woods. York Theatre Royal doesn’t often host physical dances, so it’s no surprise when Phoenix Dance, one of the most critically acclaimed modern dance troupes, comes to town, the theatre is bursting to capacity.
The first piece is ‘Signal’ by Henri Oguike which grabs the audience with it’s mutations of the human body, twisting and writhing into the strangest of shapes. Dancers enter and exit, sometimes walking sometimes jogging, before springing into sensual movements which seem sexually appealing and disturbing at the same time. Fires blaze in the background to show the passion and energy of the dancers.
Moving from the symbolic, the second piece has more of a narrative structure behind it. First performed in 1939 and choreographed by Jane Dudley, Harmonica Breakdown is a 3.26 minute solo piece performed tonight by Kailea-Nadine Williams. The dancer chugs along to the sound of a re-mixed harmonica occasionally bursting into explosive dance or defensive position before returning always to a sliding motion across the stage. I saw the theme of dignity and self-respect; no matter how elated or distraught the individual feels they return to this position of strength and stoic resolve. The harmonica conjures images of Western America and the programme reveals the play represents underdogs in the depression, a hard life which eventually leads to releasing her “radiant soul”.
The next piece ‘Pequenas Alegrias’ by Henrique Rodovalho features a host of dancers wearing brightly coloured gym clothes vying for competition from their surroundings. A projector is placed on stage which creates a globule of light which pulses and shifts along large blocks and beats to music. The dancers use the blob on their bodies to fuse with the rhythm and the pulse before uniting with each other to try and outdo the blob’s own style of ‘dancing’. This piece seemed to suggest to me childish nature to seek supremacy within a certain space; an implied cartoon world.
Finally the last and busiest piece, ‘Los Picadores’ by Javier De Frutos, comprises of a white canvas on the floor on which men and women, creating the illusion of nakedness and covered in blood, engage in seemingly random acts of violence against whoever they choose, eventually the blood rubbing off on the stage. It seems by standing off the canvas one is free, but as soon as one enters the world of the dance you’re fair game to any predators. The piece is heavy with sexual actions, which to me suggests the violence and danger associated with sexual power and frustration.
I felt that all four performances were meant to be symbolic and the audience take what they want from them. An amazing assortment of talent from around the globe, including Vietnam, Australia and Brazil

words: henry raby

The Price, by Arthur Miller - Compass Theatre - York Theatre Royal - 04/05/07

Arthur Miller’s not the easiest of playwrights to get to grips with. What may seem like a mild discussion between two characters is actually a highly-charged political allegory and working out what exactly Miller’s conveying is never easy. Director Neil Sissons has gone for the traditional realist approach set in East Coast America. I’m no great judge of accents but the cast seem to get them just fine. Neil Irish’s set design is quite interesting, at first glance all the generic brick-a-brac simply support the catalyst of the piece, but the piled high wardrobes suggest the looming presence of the father, the past and the predicament facing the characters. The furniture creates a sense of claustrophobia whilst allowing plenty of room for movement in the centre. The first act of the play sets up the main characters and their relationships, and we generally get Victor’s side of the story. Victor (Robert G. Slade) sacrificed his career to look after his father who was crippled by the Wall Street Crash, whilst his brother Walter (Peter Banks) lived his own life and became a successful surgeon. Act 1 conveys the situation, history and Victor’s personality to the audience via conversations with other characters. Stuart Richmond is excellent as the charismatic furniture dealer Solomon and Amanda Bellamy spot-on as Esther, Victor’s over-ambitious wife. Whilst initially it seems Victor is the victim, the second act is layered with argument after counter-argument revealing long kept secrets and turning a cliché plot of who’s the good/bad sibling into a highly complex analysis of relationships and how people choose to live their lives. Victor paid the price for his self-sacrifice by losing all ambition; Walter paid the price for his self-importance by having a nervous breakdown. Obviously it’s about rivalry, but also about escaping duty (sometimes by facing it), the choices we make in life and the prices we pay. Solomon, who’s lived an eventful long life, also has regrets over his life but takes a unique outlook on everything. All in all it boils down to responsibility over one’s actions. But that’s probably just the tip of the iceberg. Sisson’s effective characterisation makes everything easier to digest. The actor’s handled this constant barrage of highly confusing arguments very well, and although I’ll admit I got lost once or twice, it’s to be expected with the multifaceted Miller.

words: henry raby

HELP! SHE CAN’T SWIM + THE PISTOLAS + CHOW CHOW – FIBBERS, YORK - 07/05/07

When Fibbers described this as a ‘no filler’ gig, they really weren’t kidding. Three bands brought together with the same aim it seems – to set dance floors pulsating. Tonight’s Bank Holiday disco venue was the Fibbers Barfly; not exactly packed to the back, but with a reasonable crowd none the less.
So, introducing electro-pop Londoners Chow Chow, also signed to Fantastic Plastic Records like tonight’s headliners. This suitably energetic opening band offer a blend of electro beats and shouty dual vocals that’d happily persuade the current nu-wave clique to buy a t-shirt or two off them. Nothing especially out of the ordinary though, but still, an enjoyable performance that got a good few feet tapping in the place.––
Norwich band The Pistolas follow up with a tasty opening few songs; infectious synth-led numbers with appropriately eclectic vocals. It comes as a bit of a shame then when the songs seem to slip into the repetitive, only definable really by the different one-syllable words in each chanted chorus and by the new dance moves the lead singer employs as they continue through the songs. They got a few dancers in the crowd though, which seemed to satisfy their enigmatic front man enough to put the set down as a success.
After a thumb-twiddling half hour of set-up time, made slightly more entertaining (or torturing, depending on your view…) with some Björk on the sound system, headliners Help! She Can’t Swim dive into their set of angular disco-indie to an enthusiastic crowd. Today saw the release of the bands new album, The Death of Nightlife - so why oh why do they seem so… well, bored? At first you wonder if this is one of those build-up routines; the casually cool indie kids who very soon are going to burst into a fit of spiky animation with the sort of sound they capture so perfectly on record. There’s a glimmer of hope with the single Hospital Drama, its opening lyrics of ‘We went to the party spelt P-I-T-Y’ summing up the bands signature sound of wit and pop energy in both lyrics and music. But, alas, this is their last song of the set, and it all comes a little too quickly. Soon enough, the lights are up, and everyone’s being shut up and shipped out.
An interesting line-up that screamed the word ‘potential’, and indeed with a few short moments of electricity and energy, but on the whole, this ended up as rather mediocre. If you liked the music or have inevitably heard very good things about these three bands, but couldn’t attend tonight’s show, you didn’t really miss much. Get yourself a record by The Pistolas and you’ll be a hell of a lot better off that the majority of us were this evening.

words: r l wade