january 2008 live reviews

SHED SEVEN - LEEDS MET. UNIVERSITY.   - 08/12/07

The rumours and whispers of a live tour for Shed Seven started early last year. News of a

home-coming' gig - well, as near as York's limited capacity venues will allow - four years after their split was a surprise to say the least. The following announcement that former guitarist, Paul Banks, who left the band in 1999, citing the old favourite 'musical differences within the band', was going to be part of the reformed line up, this tour was shaping up to be something that must be seen.   And, along with 40,000 plus other like minded fans across the UK, I went to catch 'The Return' (sorry) of York's favourite musical sons.

To the inevitable chants of 'Yorkshire, Yorkshire', Joe Johnson, Paul Banks, Alan Leach, Tom Gladwin and finally Rick Witter swaggered onto the stage to a deafening roar of sound that filled Leeds University, and all of the band's die hard fans, with frenzied anticipation. Opening with 'The Return', aptly of course, this popular album track went down a storm with the 2000+ fans, particularly the tough (and frankly insane) mob in the moshpit, but it was the opening of second track 'Getting Better' which really whipped this crowd into a flurry of excitement. Rick jumped down from the stage to liaise with the front row, offering some lucky, if utterly tuneless, fans the opportunity to sing into his mic the final chorus, but their efforts were drowned out by the screams and chants of everyone else in the venue shouting every word. It was a night of anthems, followed by a morning of throat sweets.

Perennial favourite 'Bully Boy' saw the crowd swaying and surging forwards, looking as though some real fights were bound to erupt, followed by oft-forgotten album track of 'Lies'. After this, the hits did not seem to stop coming, with a classic Change Giver medley of 'Ocean Pie' and 'Dolphin', where the benefit of Paul and Joe's combined guitar strength really came into it's own, and when the now infamous 'Speakeasy' followed, the band were recapturing the magic of the Britpop age.

Brief respite from the constant assault of hits came from Let It Ride album track 'Drink Your Love', which again showcased a much fuller guitar sound than '90s Sheds enjoyed. This chance for people to catch their breath was, however, short-lived with the band then delivering the crowd with a non stop barrage of their greatest hits and sing alongs, with 'Where Have You Been Tonight', 'On Standby', 'Cry For Help', 'She Left Me On Friday', 'Chasing Rainbows' and finally 'Disco Down', which saw several of the band's own children dancing the 70s inspired dance moves made famous in the 1999 video (you-tube it people!).

For the encore set, the brilliant and often under-rated 'Devil In Your Shoes' re-started the set, followed by my personal highlight, a frankly incredible 'Parallel Lines', and ended, inevitably, with their biggest hit, 'Going For Gold'.

Classic favourites such as 'Long Time Dead' and 'Heroes' were notably absent, but with such a strong back catalogue, there will always unfortunately be one or two gems left out. Tonight, Leeds University saw a band far from over, as many 'fashionable' music magazines have wished/reported/tried to portray from their birth in 1994, but this is a band who continue to deliver incendiary live performances, and crucially, a band who never forget who they are there for-their numerous legions of dedicated (and very loud!) fans. Shed Seven may never be the 'coolest' of bands, yet for thousands of people nationwide who forked out to see their sold out tour, they were worth every penny. The line up did benefit from the return of Paul Banks, and all of the band seemed to genuinely enjoy the gig - no indie shuffling here, with Rick throwing his frame across the stage, and Alan even doing his famous back flip from the drum riser following Going for Gold, despite clear advice from his Mam to refrain!  

Shed Seven, who despite the phenomenal success of this tour, are NOT planning to write or record any new material, the best we can hope for is a festival appearance in the summer? If so, don't miss potentially your last chance to catch this incredible live band, and I'll see you down the front.

For more information on Shed Seven, visit their official myspace: www.myspace.com/offcialshedseven or the excellent fan site www.magicstreets.co.uk    

words: emily leaper

EOGHEN COLGAN + JAMIE LAWSON - HOUSE CONCERTS, YORK - 03/11/07

The informality of being invited to someone's house lent itself well to a relaxed atmosphere and the chance to sit and make acquaintance with audience members and the two acts due to perform was settling. Discussing whether we were House Concerts virgins we found, surprisingly, there were quite a few. This is a performance concept where word of mouth is the strongest advocate and the 30 capacity audience was well focused and primed for entertainment.

Opener Jamie Lawson upped, stood there - barely needing amplifiation - and performed an original set which drew one in at such close quarters. At times coming across all Richard Thompson and at others displaying the vocal angst and intensity of Snow Patrol's Gary Lightbody; he picked and panted with exertion - and it's not as if he was jumping around and belting it out - this was emotional leakage; and by the end of his set he was spent and trembling. Nice.

Eoghan Colgan - O2 songwriter winner - was a different kettle of fish - vocally elite tonight, he was yet possibly too smooth for my palate. In comparidson to Jamie not as deft a guitarist by a fair way; he freely admitted that his his material was often now performed live with a bigger band. However despite this lack of inventive guitar accompaniment one focused on the lyric and his acclaimed voice. He   communicated naturally which led to a human and personal performance and highlights were his humble piano accompanied songs (where, in the absence of his regular pianist, he played keys). Two stripped down, raw tracks - not undercooked but lending enough accompaniment to support the melody - showed the award clinching song to be just that - a winner. www.houseconcertsyork.co.uk

words: dean saint john

THE WARLOCKS + FALLING SPIKES + ISHTAR - FIBBERS, YORK - 23/11/07

The Talk presents "A Tale of Contrary Dronerockers," a 1-act play.   Scene:   the bar in the Velvet Underground Arms, a possibly not real pub painted entirely in black.   The Talk reviewer is stood at the bar.   Enter Psychedelia Fan and his faithful dog.   TR:   "Alright.   So what about those Warlocks last week then?"   PF:   "Fantastic mate, fantastic, I was really made up."   TR:   "What?!   You mean fantastic despite the monolithic sound, the buried vocals, the complete lack of variation, the arrogant attitude and the fannying around with a totally pointless instrumental in the second part of the set - when they were on tight stage times due to it being a club night, I might add?"   PF:   "OK, the sound was struggling, but there was so much in their set, it was really enveloping, it's how druggy dronerock should be, massive and repetitive.   And the bass player was very cute."   TR:   "Were we at the same gig?!   OK, what about Ishtar?   Great set, adding a sample of Dick Cheney banging scarily on about terrorism gave a poignant relevance to their atmospheric post-rock instrumentals, don't you think?"   PF:   "That sounds like pretentious reviewer-speak to me, mate.   Not my kind of music, but yes, they were good.   The Falling Spikes were totally mint though, weren't they.   Loads of people watching and actually dancing, doing that kind of shoulder-shuffle thing that rock blokes do."   TR:   "Agreed, there was a lot of love in the room for them, and they were on top form.   Great versions of '60 Seconds' and 'Blue Eyes' and that new tune, 'Karma,' sounds top.   Lots of ace keys in that one.   I'd rather have listened to more of the Spikes' laid-back slow-build spacey sound than The Warlocks' brick wall."   PF:   "But you're back to the sound.   Yet again the Spikes' keys weren't loud enough in the mix.   Still, lots of people did tell them afterwards that they enjoyed the Spikes more than The Warlocks."   TR:   "There you go then, proves my point.   Chilled-out York rockers triumph over Californian drug hoovers."   PF:   "Maybe, but by all accounts The Warlocks' next gig in Sheffield was absolutely amazing."   TR:   "So York got sloppy seconds?   Great, thanks, Warlocks. We may have to agree to disagree on this band, unless we ask the dog."   Dog:   "What do I know, I'm only a dog."  

words: tim procter
pic: david x green

SEX PISTOLS - M.E.N. ARENA, MANCHESTER - 19/11/07

If there's a record for the largest gathering of balding, beer-bellied forty-somethings in one place, it was broken at the MEN on this night to witness the re-formed, if not reformed, Sex Pistols. Seduced by the cash and buoyed on by the tide of punk bands that have got back together, the original line-up of the band have hit the road again to celebrate the 30th anniversary of 'Never Mind The Bollocks'. There can't be many of you reading this who haven't owned the album at some point, and fewer still that actually saw the Pistols first time round, so it was no surprise that all dates sold out rapidly to a mixture of hardcore fans and the plain curious.

It was an eager audience that watched the original Pistols take the stage - guitarist Steve Jones hiding a considerable paunch behind his Les Paul and bass player Glen Matlock looking more like a snooker player than a punk, in ruffled shirt, silk waistcoat and coiffured hair. Drummer Paul Cook appeared to have weathered the years better than the others, including Johnny Rotten. He was clearly in character and there seemed to be a palpable worry in the audience that we were going to witness either pantomime or the great rock n roll swindle part 2.

With no ceremony, they took their positions and the classic intro to 'Pretty Vacant' rang out. Within seconds, the whole place was jumping The band was tight, well rehearsed and although John had the lyrics to hand, it seemed to be just for reassurance as he seldom referred to them. If he did forget the words it didn't matter, as every line was being sung to him from the audience anyway. Two songs in and Jones became more animated and both he and Matlock delivered a solid wall of sound and provided harmonies (yes, harmonies) to underpin Lydon's characteristic nasal wail.

This was no big production though - the lighting was basic to say the least, and when the backdrop featuring the cover artwork from 'God Save The Queen' was dropped into place, it was so small in relation to the stage, it was like a scene from Spinal Tap.

Musically, they really delivered, and the singles were inevitable highlights, but stand out tracks like 'Submission' and 'Liar' have easily stood the test of time.

With only one studio album to draw on however, things soon petered out, as the band had to resort to playing the album's weaker tracks, B-sides and drawn out cover versions to fill their time on stage. There was an inevitable lull in the performance and atmosphere before it picked back up again, and the sound of thousands of chartered accountants and estate agents punching the air and singing 'God Save The Queen' was an eerie experience. The encores were no surprise - 'Bodies' and 'Anarchy in the UK' and they went down a storm. It's easy to criticise the Pistols for getting back together for the money, but to their credit, they delivered the goods, reminding everyone just what a huge influence they have been on so many bands since. Instead of a rock n roll swindle, there was a real sense that they were actually giving something back to the faithful.  

words: duncan lomax

F WORDS - CENTRAL LIBRARY, YORK - 19/11/07

The F-word here is Freedom, taken as a theme by eight Yorkshire literary and visual artists to mark the abolition of the British slave trade 200 years ago.   We are in Central Library to listen to three of them.

Much of Seni Seneviratne's work gives voices to people whose viewpoints are frequently overlooked. One poem is a monologue by an old lady in a care home, another the story of a Palestinian child held to question by the monomania of an Israeli soldier. Her piece for F-words is also from a child's point of view, this time a black child servant of the Duchess of Portsmouth, captured in her portrait of 1682. It is a distressing poem, exploring the fundamental assault on identity which is the lasting legacy of slavery.  

Simon Murray is a born performance poet, and his piece for F-words, a rant against government spin called AAAAAAAAAAAAAAAAAARGHHHH! has to be heard rather than read. His poetry is immediate and refreshingly political. His letter to Santa, asking for an African baby like Madonna's or an iPod is brilliant. Look out for his new take on the BNP - that is the Brown 'n' Proud movement - and if you get the chance to see him live, I would.

Jack Mapanje is a performer of rare warmth and perception.   It takes nothing away from the other readers to say he is the main draw tonight. He has direct experience of oppression, having been imprisoned without charge or trial in his native

Malawi for four years, and his work banned there. In spite of this, his poetry tonight is frequently gentle and affectionate, and he has clearly taken this region to his heart. He writes pleasingly about Sunderland (and how many poets do that!), he relishes the open space of Bridlington beach, he celebrates the joy of driving fellow dissidents to Scarborough for fish and chips. His work is informed by an absolute belief in freedom and the rights of the human, but his message is subtle and   funny and kind. We are simply captivated.  

A marvellous night, then, and, for a rainy Monday, really well-attended. There's a buzz growing in York around things literary. Lets hope the momentum, fuelled by events like this, continues to build in the new year.

words: ann heath

PAT BORTHWICK 'N' FRIENDS - JACOB'S WELL, YORK - 26/11/07

Another rainy Monday night, another packed poetry gig, this time jammed into a medieval setting.   And I mean jammed.   Every seat is full and people are standing at the door to listen.    

Pat Borthwick is a stalwart of Yorkshire poetry.   She's been a writer in residence for a chalk cliff, a coalmine, a canal and a cabbage, and has published widely, including two collections and numerous pamphlets.   She also originated and remains heavily involved with the Yorkshire Open Poetry Competition.   This year, her new pamphlet "Wave" has won the Templar press prize, and this is part of her celebration.  

Alex McMillen briefly introduces Templar Press which publishes beautiful pamphlets and collections.   To develop a new audience, they stage readings through the national network of Oxfam bookshops, and donate part of their sales.   The pamphlets and collection competition is going into its third year, and hopefully will develop into a sustainable concern.  

Pat shares the stage with Pete Bolton, a singer and musician who delivers songs by poets and great lyricists.   His songs stem from country, blues and folk, and while its not all my thing, scattered through the poetry it adds richness and variety to the evening.   I hope a mix of performance will feature in future events.

Pat writes the sort of verse I envy - accessible, frequently funny and always thoughtful, a rare balance to maintain.   Her subject matter is dizzying but all her works are united by a clarity and warmth that makes each one a tiny revelation - in-drawn breaths greet each final line before the inevitable applause.   My own personal highlights?   "Passing on the Tickle" celebrating the longevity of rural knowledge like trout tickling that is at risk of dying out, "My Neighbour's Minah", the cautionary tale about swearing in front of clever birds, the superb "Katya" about the systematic rape of women throughout the Bosnian conflict.  

Pat is also a teacher and advocate of writing, so it is fitting that the second part of the evening is an open mic.   Seemingly the majority of the audience take the stand.   Quality varies - of course it does - but every poem is given an enthusiastic welcome.   It's a good balance for an event, varied and inclusive, and hopefully everyone goes away inspired.

words: ann heath

ENJOY -   BY ALAN BENNETT - YORK THEATRE ROYAL -   11/07

W orking class media can be tricky because it can be caricatured. Just look at ITV's Corrie.   At first glance, Bennett is simply adhering to this formula, with a naturalistic elderly couple pottering about in their Leeds house creating a humorous sketch of the forgetful Connie (Gilly Tompkins) and the ever-suffering Wilfred (Peter Nolan). The actors have good comedy timing and Bennett hilarious observations on northern life in a Peter Kaye style. At first glance Bennett has created likable Leeds stereotypes.   But directors Damian Cruden and Juliet Foster constantly remind us this is a play by a blockade of grey rubble and the sound of bulldozers when the door is open like a cartoon.   This area of Leeds is to be demolished and replaced with luxury flats, and the couple have mixed feelings about this, a nice vehicle for Bennett to discuss the topic.   Connie is the more traditional figure clinging to the past whilst Wilfred is more optimistic.   But then Bennett starts to twist things, introducing a surveyor from the council and then suddenly everything becomes quite unusual. There's domestic abuse, a trip to Saudi Arabia, a limousine, a Nazi skinhead, Wilfred suffers a heart-attack, becomes paralysed and finally there's the revelation of a long-lost transsexual son.

When characters are put in front of an audience it becomes a soap-opera, with plot lines and events for the sake of entertainment.   So it can be enjoyed. Just watch the next door neighbour who puts on a posh voice for her observer. The ending, a very surreal metaphorical removal of the entire set that puts Connie on show in a museum glass case (thanks to Nigel Hooks' clever design). Audiences observe the working class of yesterday in the media like we do Victorians and Romans, which leaves a strange feeling in your stomach. I saw Bennett give a speech recently and it can feel, as when the play was written 27 years ago, people want idyllic nostalgia.   I remember my Great Grandmother and the stories my relations tell me about family life long before my time.   It can bring a tear to a Yorkshireman's (or woman's) eye as this world is swept away and destroyed, but then Bennett goes further to suggest it's sick to greedily cling to this world like these suited clones in the play who want to preserve Connie's world in a stale museum bureaucracy.   

words: henry raby

RYAN ADAMS - GRAND OPERA HOUSE, YORK - 13/11/07

W arhammer.   The fact that tonight's top biller mentions the fantasy model war game with the surprising and admirable degree of longevity is indicative of quite how interesting and bizarre a package Ryan Adams can be.   The American singer/song writer has gained a reputation for being a slightly meandering performer, filling the gaps between songs with fairly rambling monologues and hints that Adams would benefit from having a set list stapled to his forehead.   In the context of a venue in which the silences are really silent these rambling passages get slightly awkward and inspire some individual to cry "just get on with it!", but someone needs to teach this fellow one of the laws of cultural physics, the ratio of rough versus smooth.   Because Ryan Adams is fantastic.   An outstanding back catalogue combine with a stunning natural talent to produce a compelling show case for a brilliant artist, tightly backed by some very good musicians in the form of The Cardinals.   New numbers like "Goodnight Rose" and "Everybody Knows" sit well alongside the likes of "Cold Roses" and "When The Stars Go Blue", demonstrating Adams' depth and what feels like an instinctive song writing ability.   The band's skills are amply demonstrated in the form of a lengthy, lyrical jam - and that's how they start the show.   The all seater venue prevents any distraction from the performer (no one is spilling beer down your back in this place) and he is completely deserving of it.   When Adams is freed from guitar duties in order to sing "The Sun Also Sets" his magnificent vocal performance is so strong and impassioned that during the song's voice only sections you can hear the audience gasps.   It is the palpable sound of an artist blowing an audience away.   A wonderful band, a brilliant talent - a fantastic night.

words: martin cordiner

GUY BARKER ORCHESTRA - SIR JACK LYONS CONCERT HALL, YORK UNIVERSITY - 01/12/07

Sit back, kick off your shoes, pour yourself a jigger of bourbon, The Guy Barker Orchestra is about to take you back to 1940s Little Italy, home to gangsters, gun molls and drunken bar brawls. These 14 strong virtuoso musicians of the black suit, no tie, open collar genre gave their rendition of an ill-fated love affair inspired by Mozart's der Zauberflöte.  

Touted as the best trumpeter in Britain yet refreshingly modest, Barker introduced their album with a hint of irony, as having been voted number five in GQ's 2007 list of '100 Best Things'. Well, sure: given that there were no women on stage and the only ones mentioned were whores, mothers of whores and a virgin, this wasn't going to make it into Marie Claire.

In the first act composer/conductor/trumpeter Guy Barker unleashed 'The Amadeus Suite' a piece commissioned to mark the 250th anniversary of Mozart's birth. This was kick-ass jazz, as a rhythm section of bass, piano and drums sustained an international brass section - which was not simply a James Brown knock-off as is so often the case.   They played complex jazz, each instrument taking a line and running with it yet blending to form richly layered harmonies. It was often difficult to tell what was improvised and what was arranged.

In the second act 'dZF', took us into a "jazz noir" fairy tale populated with characters adapted from The Magic Flute (loooosely) by crime writer Rob Ryan, and narrated in Humphrey Bogartesque drawl by actor Michael Brandon (Jerry Springer the Opevra; Dempsey and Makepeace).   Ryan came on stage and spoke about the serendipitous encounter with Barker, which let to their collaboration. Then the band played on. This was a stylish, original performance, which enthused the audience and indeed the band themselves, who were often seen grinning ear to ear. Barker didn't put his lips to the horn much, as he was often busy conducting, but what little he played found you wanting more.  

The narration was meant to weave the sections of music together into a plot, but was most effective in terms of creating ambience: Brandon's voice dripped with whisky and evoked murders, almost murders, soon to be murders, and love. The plot played second fiddle, and was perhaps a little too complicated for the format. Music was the highlight and so engaging that the narration at times seemed like an interruption. But then again, the dialogue rendered the music more accessible, and the man does have a sexy voice...

words: dr. kate
pic: david x green

ARCADIAN - FIBBERS, YORK - 08/12/07

It was a miserable, wet evening. I'd been invited along to a gig at Fibbers to see a band I was struggling to remember the name of! I didn't feel too hopeful. Things didn't get a lot better listening to the warm up bands, as when the meagre crowd were asked who'd come to see the headliners, only three whooped back. Alarm bells were ringing! However, a steady stream of people continued to flow into Fibbers so that there was a fair cheer when the band eventually picked up their instruments.

Arcadian, a five piece, York based, blues/rock 'n roll band, turned out to be a pleasant surprise. As the band announced themselves, the lead singer made his entrance, strutting out, like the king of the jungle, his mane-like locks and swagger threatening an all too cocky performance. Then came the huge cheeky grin and inane bouncing, whilst wielding a tambourine like a prized possession...suddenly he was less king of the jungle, and more a grittier version of the Lion from the Wizard of Oz. This immediately appealed to me and his energy just had to make you smile. The whole band were obviously there to play their hearts out and to have fun. Arcadian were enjoyable, their 'anger-fuelled goodness' left me toe tapping and head nodding. The boys clearly believed in what they were doing, spilling out decent tunes; their dedication to guitar music apparent in some memorable songs and nice riffs. This conviction was summed up in nicely in 'Message To The Soul,' and for the boys the rock 'n roll was certainly a part of their souls, and for the time they were on stage, the crowd was with them too.

Arcadian claim they are not advocates of original music, and it's true. There was nothing new, but what there was, was a performance which left me happy and satisfied with a decent night out. They were digestible and fun, although they did lack an edge to set them apart from other bands of their genre. Despite that, I won't be forgetting Arcadian quite so easily again.   

words: sarah d

THE NAKED FLAMES - THE GALLERY VIP LOUNGE, YORK - 28/11/07

I am always reluctant to head to York's nightclubs over priced beer, bad music bad smells but I heard from a good source there was a band playing at The Gallery, so I packed my notebook and pen and went to check out   "The Naked Flames"

This band is definably the best rock band I have heard for a long time, a 4 piece band who have only been together for a year but sound like they have been together for a lot longer, they have taken their influences from a broad range of different places two that you can here in their music more than any is Carole King And Pearl Jam but don't get me wrong, this band twists these influences into their own carefully crafted songs that hit out hard, Sophie the vocalist   of the band has a fantastic voice and delivered all the songs perfect.

I was also impressed with the professionalism and how the band held the audience something a lot of bands find rather difficult to do. I was lucky enough to be given a free CD which I am very impressed with, the track that Impressed me most was "Ginger bread Man" This would not sound out of place on Daytime Radio nice catchy hooks memorable vocals a real treat for your ears. They are gigging again in York on the 6th January at the Junction. I would strongly suggest if you're a lover of good time rock without the posing and pretentiousness to check this band out. You will Love it!   

words: alan malerbe

LEGENDS OF FOLK ROCK: THE GATHERING - GRAND OPERA HOUSE, YORK - 30/11/07

A curious name, more suited to an event than a band, which smacks of both hubris and a touch of desperation. However, a closer look reveals that this bunch have every right to such a grandiose epithet, with a collective CV which boasts Fairport Convention, Jethro Tull, Steeleye Span, Pentangle, The Albion Band and just about every major - and minor - act in English folk-rock of the past forty years. The first surprise, then, is how strong the American influence is in much of the set, disproportionate to the US input from guitarist Jerry Donahue and 'newcomer' (though a Cropredy veteran in her own right) vocalist, Jerry's daughter Kristina. Jerry's own contributions, such as 'Don't Want' and 'First Encounter' provided sultry, bluesy showcases for his snaky Telecaster string-bending, but the blues in all its forms provided the palette for many of the evening's numbers, whether Doug Morter's dark tale of political self-interest and deception, 'False Hands Across the Table', or Ray Jackson's skiffle-tinged country lament on early mornings, 'King's Cross Blues'. Naturally enough, it was the cherry-picked personal 'best-of's from each member which got the biggest cheers of the night - the Fotheringay arrangement of 'Gypsy Davey', the Richard Thompson classic, 'For Shame of Doing Wrong', and a brace of crowd-pleasing Lindisfarne tracks, a sublime 'Lady Eleanor' and closing sing-along 'Meet Me on the Corner'. Watching Ray Jackson singing the latter, I couldn't help wondering if this is where Peter Kay nicked his singing mannersisms. Whist in some ways a tribute act to the members' past careers, this Gathering is nonetheless a band in its own right, with members meshing beautifully together as a unit, with particular credit going to a pretty much unbeatable rhythm section of 'musicians' musicians' Rick Kemp and Clive Bunker, both understated masters with unique and sympathetic approaches to their instruments. Talking to the band afterwards revealed that the plan now is to work more new material into the set for a tour next year - something which will undoubtedly be welcomed by the sizeable audience who proved that there is still a serious demand to hear this kind of music in the twenty-first century.   

words: oz hardwick

THE NUTCRACKER - THE GRAND THEATRE, LEEDS - 11/07

The Nutcracker is a fairytale adaptation with music composed in 1892 by Pyotr Ilyich Tchaikovsky.   It was also Tchaikovsky who converted the tale into two acts of a ballet that has become a popular, almost traditional performance during Christmas time. It is the story of Clara, a young girl who is given a nutcracker for Christmas.   At the strike of midnight, the nutcracker turns into a live sized prince, a very charming one, who saves her from a giant mouse king and his mice troups.   Clara and the Prince then enter into a fairy tale world - the Land of Sugar Plum Fairy, where snow flakes dance.   They are entertained by traditional Russian, Chinese, Spanish and Arabian dancers.   In this particular production, memorable are the court buffoons who dance before the king and queen.

For the most part, the ever changing set is adorned with delicate shades of blue and sometimes the stage is empowered by warm shades of pink.   The luxurious costumes combined with the ballerinas' delicate like flower movements and acting create a sense of wonderment, all choreographed by David Nixon who joined the Northern Ballet Theatre in 2001.    

John Pryce-Jones conducted the Northern Ballet Theatre orchestra elegantly, with the glorious sound of the harp played by Laurette Pope.   The Nutcracker's music was first performed in 1892 in St. Petersburg but its popularity as a ballet was achieved in the 1950s, when George Balanchine's production took New York by surprise.   Noteworthy is Tchaikovsky's use of the celesta, an instrument featured solo in the "Dance of the Sugar Plum Fairy" from Act II.

David Nixon was voted Director of the Year by readers of the Dance Europe Magazine in 2003 and 2006, which makes him rather unique as he is the only director who has managed to achieve that.   The performance of the Nutcracker was elegantly created by the Northern Ballet Theatre who, having been the only company to win the National Dance Awards' Audience Award three times consecutively, will undoubtedly get sell out their performances of Midsummer Night's Dream in 2008.

words: s. garção

THE JONES - ROYAL PARK CELLARS , LEEDS - 30/11/07

One thing you can say about The Jones is they certainly have attitude, this mix-match 5-piece definately know what they want and how they want it, they are gonna go to any length to ensure their increasing success. Tonight they are on top-form for their headline gig, energy filling the air as they play for their friends, family and some new fans.Each member of The Jones is as individual as the next - this is appealing not just because they have an eccentric retro image but also because as individuals they have different influences and genres of music that they are able to combine when writing and performing. I think that this gives them a unique advantage   as most bands include people who collaborate ideas purely from the music they have in common and so create a band fitting to a specific genre.

First of all, frontman Kris seems to ooze lyrics like Bob Dylan and has smooth, indie vocals, just perfect for the song "Higher".

The lyrics are well written - structured yet powerful giving the heavier numbers a softer edge.   The backing vocals create a riotous layered effect which also gives a unique slant on a typical indie band. Jono infuses their songs with jazz and funk basslines which adds depth and groove. Kev is stuck in the 1990's and The Stone Roses play a heavy part in his guitar style, striking a balance between old and new indie rock and roll. Mike the drummer can put a beat to anything and his style is playful yet heavy, his up-tempo drumming adds a dancy vibe to songs such as "Shotgun".   Ex-Testtone3 guitarist Adam pulls off mighty riffs as if he is standing on the stage of Wembley Stadium, characteristics of his style are of that of Muse and Hendrix and the use of his Kaos Pad - gives the bands songs a futuristic, electro feel. Their set was immaculate, although sometimes i get the feeling they they are slightly rigid and dont seem to be having fun on stage... maybe if they relaxed a little,

injected more stage presence and didnt take it so seriously? I love the contrast in their set - slow, romantic "Wideawake" is a catchy love song, with bluesy, doleful vocals - an acoustic guitar softens the melody. Then bounce into the playful "Failed Transmission" - which i think is a perfect dancefloor anthem. Their set was eay listening, easy to appreciate and will definately appeal to several generations of music lovers, although their sound is eclectic and almost exotic, making it more sexy, adult indie rock. The crowd loved the banter from frontman Kris as he introduced the band he also declared something about free porn, which got plenty of giggles from the ladies!

I have no doubt these lads will go far... bursting with talent and fresh ideas, plus a few crowd pleasing guitar tricks from Adam - they have irresistable clout and are superb live. The Jones have recently signed a contract with Atomic-London management, they have free "live session" cd's to give away at their gigs and will be releasing a single in the new year... So watch this space. You can also download a couple of their tracks at www.livemusic.fm   www.myspace.com/thejonesofficial

or their website - www.atomic-london.com

words: annie albericci

JOE VENABLES - BASEMENT, YORK - 03/12/07

One thing York seems to lack is a good source of inspirational up and coming acoustic musicians, sure we have good established artists such as Dan Webster, David Ward Mclean & Rob Hughes, and they have really opened up the acoustic scene here in York. But there is a new gentleman within the walls who I would say is going to give them all a very good run for their money.

Joe Venables performed a fantastic hour long   set of original compositions and threw in a few covers as well but did them well enough to do them justice, not everyone manages to do a cover of a police song and make it their own but Joe took "Every Breath You Take" and made it his own he moulded his styling's to it to make it his version not just another cover.

Also I really liked the title track from the album "Love on TV" there are some fantastic melodies and lyrics in here, some amazing honesty also.

I find it very hard to be honest and to the point but I guess that's what makes Joe's music so accessible and that's why people like it., as with any musician. / Writer if you write music people can relate to you have hit the nail on the head.   Another thing that amazed me is how well he works with his audience he likes to entertain them and most of all he wants you to be relaxed n enjoying yourselves.

Joe has been writing he tells me from a young age, and when you listen to his material I hope you will agree its touching, sensitive, and mature acoustic music, I really enjoyed listening to his set (the set was split into two parts with intermission and support),

and Joe came out n gave us a performance devoid of any barriers,   I recommend you check out his myspace ( www.myspace.com/joevenablesmusic ) and his website www.joevenables.co.uk , he tells me also you can buy his music on I tunes as well.

Buy a copy of his new album love on TV and fall in love with this guy's music it's not just music it's a soundtrack to your life & make sure you see him live as his gigs sell out fast, this is a talent you need to see and hear!

words: alan malerbe