live music reviews april 2008

DERRIN NAUENDORF - SHIRE HALL, HOWDEN

The forecast that this gig would be one of the best that Howden Live have ever presented at The Shire Hall on Saturday March 1st proved to be formidably accurate. The second one, that the woefully small audience would be wondering why there weren't at least another hundred people sitting with them by the interval proved to be right on the nose too.

Proceedings kicked off with Val Marshall, ably partnered by Dave Holley, and a tremendous acoustic set of self penned songs. Evidence, if it were needed, of the fantastic pool of talent there is in the area.

Then, the main event, with Mike Hellier on drums and Rick Foote on double bass, DERRIN NAUENDORF kicked straight in to a set that virtually blew the audience away.

There are not enough adjectives in the dictionary to describe what we were privileged to see and hear in the next hour and a half or so, driving, passionate, sheer bloody musical genius! The apprenticeship that Derrin has served since arriving from Australia with a few quid, a guitar and some warm clothes some five years ago was there for all to see. Loosely based within the blues genre this wasn't blues, it wasn't folk, it wasn't Americana, it wasn't rock, it was simply spellbinding. The set started off with the dynamic Shipwrecked setting the scene for the rest of the evening, a perfect vehicle for the inspired interaction between bass, drums, guitar and vocal, getting in to a groove that didn't cease for the rest of the evening. This evidenced by  the entire audience nodding their heads, tapping their feet and generally having a great time.

Personally a measure of a great gig is if you have sore hands from applauding by the end, the measure of this one was sore hands by the interval. Derrins charming and humerous between song patter endeared him even more to the audience, one song was introduced as one that could 'crash and burn' as Mike the drummer hadn't even rehearsed it before with the band, no need to worry though, the inspired groove continued. A couple of fantastic interpretations of Bruce Springseen and Bob Dylan songs along with material from his latest album 'The Rattling Wheel' drove the set to its inevitable end but not before one of the many highlights of the evening, the pre encore 'Let It Go' If Derrin ever got to play that on Later with Jools Holland he would be straight up there with KT Tunstall, Richard Hawley and Seasick Steve. All too soon it was all over, but this really is what excellent live music is all about, you only had to look at the grins on peoples faces and feel the superb atmosphere to know that we had witnessed something very, very special indeed.

mark rodger

THE WIND, THE WAY, THE WANDERING - YORK MINSTER - 16/02/08

Once again the Minster was void of seating and exposed was the glorious expanse of Nave   floorspace, accentuating the towering pillars supporting the vaulted ceilings.

Tonight's annual concert was devised and presented by the University of York and was based around Gamelan and vocal music with some more exotic instruments thrown in. And the remit? To break the mould of the traditional concert and present an evening of true Promenade; utilising the space within the Minster to offer focal points for performance and let the sounds engage and draw the audience. For me it was a night of fluid shifting focus, surprise and intrigue.

There was a great variety on show: India Bourne's composition 'Worlds Apart' for the Gamelan witnessed the choir of gongs submit to the beating of mallets and bare hands, producing pure tones and also featured a sweet percussive hand tapping ending. On Beethoven's 'Three Equalii" I had never heard trombones portray and blend so lamentingly. In particular the fleeting second piece was barely appreciated before its decay was overlaid by the solo voice and Gamelan stirrings of 'Lacrymosa'.

Seamlessly flowing from one space to another - one aural texture replacing another, luring the audience to discover what was next.

Joe Browning's understated control of the Shakuhachi - teasing so much expression from phrases consisting of one or two main notes - contrasted well with the brasher reedy Armenian duduk solo by Nahro Zagros.

Rich and pulsating, cyclic Brahms canons for the women's choir led us into the North transept on two occasions and then into the final piece 'Dust In Space'. This was one of two Gamelan dramas which were more involved and demanded a more concentional audience role. Some folks followed the action all night and others just remained in one spot - sitting, standing, lying down - and didn't need to see the performers. Listening to the sound reflecting within the building was obviously enough for them. It was very much each to thier own this night, yet the silent appreciation following each high quality piece was obviously shared - as was the sentiment behind the applause we'd reserved for the very end.

words: dean saint john
photos: david x green

Four Day Hombre - Fibbers, YORK - 28/02/08

A home town gig is always a lot of fun.   Four Day Hombre are tonight playing a venue that they first played back in 1999 - "and some of you are still in your 30s" remarks wonderfully voiced lead singer Simon Wainwright with a jovial tone that sets the "chin up" spirit for a gig which would be in a much bigger venue if there were any justice in the world.   In the words of Kirsty Wark, "more on that later", as tonight's support acts are worthy of a mention.   Lights, also known as one man band Ben Leftwich, have some delicate and well put together songs, all featuring Ben's quiet but controlled and honest voice.   He (sorry, they) are followed by the altogether more full on New Adventures, who are an interesting proposition and make a large, anthemic and sometimes engaging sound.   Although they have plenty going on, they feel a little bit too self consciously epic and might do better to stop trying to be quite so sincere.  

Which brings us to The Hombre, a powerful and dextrous band who start off all gutsy and soulful country-esque before passing through "Asleep in the Back" era Elbow (a comparison that justifies its persistence but one that is a compliment in this reviewer's arsenal of criticism) and finish with some very heartfelt acoustic numbers.   They are highly talented musicians to a man and make a great sound, especially in the form of superb harmonies courtesy of guitarist Rich Huxley. They sometimes hit the kind of "in the moment" mark that shows they take their music seriously, but their passion is infectious, and the constant stream of jokes at their own expense help to prick any pomposity.   They play us a lot of new songs tonight, an encouraging sign that The Hombre are still exploring their multi faceted sound.   This band are a joyous combination of musical individuality, ambition and the talent to carry it off.   Let's hope more people start realising what they are missing.   

words:martin cordiner
photo: wiiinston

MUGAYENKO TAIKO DRUMMERS - NCEM, YORK - 04/03/08

As a passionate believer in the power of rock and indie, I was more than a little dubious when I was invited to see Japanese Drummers in York. My laissez-faire attitude expanded when I saw the audience, everyone ten years younger than me or twenty years older. What was I doing? This wasn't Fibbers, Junction or Rock City. I was in a church?!

I like to believe I'm open to all music tastes, but in reality I'm not. I was more than prepared to thouroughly dislike this experience. Yet as soon as the drummers started playing my eardrums revelled. The natural acoustics reverberated in my ears and the whole audience was rapt. It wasn't just the music, that would be very offensive to the drummers to give the music all the credit. The performers were magical. Their stamina, enjoyment and love was obvious to everyone. They transformed a piece of music into a work of art. Their timing precise and their passion unequalled.

What made this experience more enjoyable was the drummers storytelling through words and music. Humorous, interesting and full of respect for the art form they excell at. I was, quite frankly, in awe, and ashamed of my own ignorance and snobbery for world music.

I have a new found respect for a music style that was alien to me and surely this is what music is all about? Leaving a concert knowing you would never be predjudiced to a certain style again. My ears still hurt.

victoria mcleod

THE HUNGRY GHOSTS - STONE ROSES BAR, YORK - 17/02/08

They had me straight away; Adam was wearing a stripy hat to match his guitar strap, swag bag style, and Ant's bass lit up. Drumanji's African beats still pulsed though us, and Red Chevron had wrapped up their debut gig (think Richard Ashcroft if the drugs had worked), when drummer Clark hung a tiny toy ghost from a mike stand. But who cares about image?

I'm not a dancing-at-the-front girl. When my feet started moving and my mouth picked up the chorus to Snap Shut they were disobeying my brain's sense of how-to-look-cool. Then I started doing that naff clapping along thing. Ship of Thieves ended and I was bouncing up and down, furthermore, I didn't care; anyone who wasn't stood at the front swinging their body parts about clearly wasn't listening properly.

The Hungry Ghosts are great close-up. They're good from a distance, but close-up you get to see Adam playing the guitar like a cello, Ant tap dancing over a small city of effects pedals, singer-guitarist James boshing his keyboard at random intervals, and Clark, who's very, very pretty.

The music's rock with punk sauce. A quality rock steak, as it were, with punk left on the table for you to help yourself. Once you've decided that, they'll fingerpick a guitar riff with lyrics to stand and be thoughtful to. Then break into unaccompanied four part harmony. Last year's Battle of the Bands champions are fine musicians with a full, tight sound, and clearly enjoying themselves; what's special is that the songs have as much personality as the blokes pumping them out. James' singing alone makes you want to go home and bash a piano with a clenched fist.

lara pattison

Delays - Fibbers, York - 24/02/08

Delays (Greg Gilbert - Vox/Guitar, Aaron Gilbert - Synths/Programmer, Colin Fox - Bass, Rowly - Drums) first swept onto the music scene in 2003 with their debut album "Faded Seaside Glamour". Signed to the record label Rough Trade along with other bands such as The Strokes and The Libertines, the media's desire to define the band's unique sound became impossible.  

Greg's effortless falsetto could be compared to The Cocteau Twins, however with their heady mix of new romantic 80's electronica, pop rock guitar riffs and solid drums the band create an atmospheric sound of luscious harmonies and synth wizardry.

After completing their European and US tour in 2004, the band returned to the studio to begin formulating album number two "You See Colours" a vibrant compilation thus validating their maturity.

Now under the new label of Fiction Records they are back on the road again for another UK sell out tour. Tonight they play to their adoring fans in the intimate venue of Fibbers.

In a mass of bed head hair they greet the screaming crowd with a gentlemanly bow. Needing no introduction they storm straight into their opening track "Long Time Coming" a slice of true indie pop.

Highlights of their beautifully crafted 13 track set are "Valentine" with it's infectious beats and souring vocals, "Love Made Visable" with squelchy ambient synths leading into their familiar summery sound and "Panic Attacks" which sees brother Aaron take lead vocals who gives a more rough and edgy delivery.

The new single "Hooray" is due to be released on 21st April.   The lyrics talk of Greg's everyday challenge with OCD and tell the fans how he often finds himself picking up litter from outside his house at 2am - dressed only in his boxer shorts. This encourages cheering from the audience... maybe the empathetic honesty is missed as the ladies fantasise about such a scene?!

They end their fantastic and energetic set with the track "You and Me" bounding around the stage whipping the crowd into a frenzy leaving everyone desperate for more. Luckily I managed to catch them at their tour bus to get a deeper insight into the band - and find out more about their legendary curry club, although you may need to watch the video on MySpace to fully appreciate this!   

Q: When you're label-mates with the like of The Libertines and The Strokes, but have been quoted as "too soft for Oasis fans" do you question where you yourself and your fans place you?

Aaron: Who said that?!!? We don't want to be part of a scene.   We want to be different, not sound the same as other bands.

Q: Greg it would appear that you're the driving force behind the songs.   Do you interpret the other bands thought and suggestions or do all your ideas work together collectively?

Greg: It started off mainly with me. Then Aaron began song writing and now it's more 50/50 between us both. The band get together and begin stretching and adding parts so everybody has fair input.

Q: How do you begin to write? Where do you get your inspiration?

Aaron: I actually dreamt the song "Long Time Coming" it had always in my subconscious.

Greg: It seems to come to me when I'm not thinking about it.   I'll start humming a few notes and suddenly it's there. I like to go for long walks so I always carry a Dictaphone with me to capture it when it happens.

Q: Greg you've explained that you're not always confident and usually prefer to hide in the corners. What is the catalyst to the onstage performer where the crowd perceive you as a confident lead singer?

Greg: There has been a definite change in me recently. An epiphany of life in short.   I still get nervous before a gig but I enjoy talking to the crowd. It's all about what people take away from a gig. We're an honest band and the crowd give us faith and confidence.

Q: Whilst on the road you invented "The Curry Club".   How do you become and honorary member?   Is there an initiation?

Aaron: Yeah, there is this tree in a graveyard in Southampton.   You have to sleep naked up there all night.

Rowly: And you have to be blind folded and eat a teaspoon of different curries and identify which one is which. Then you're in!  

review and interview: emma jackson
photo: andrew stanistreet

Richard Hawley - Grand Opera House, York - 18/02/08

"Are you going to be as good as Belfast ?" Richard Hawley asks the audience at the start of his set at York's Grand Opera House. A muted response gets an uncertain "That's a no, then" from the singer, who then precedes to wind the audience up, elliciting bigger cheers. So the Yorkshire audience may not have been as ecstatic as their Irish counterparts, but the reception that greeted much of Hawley's set was genuinely affirming.

Hawley headed a four piece backing band, all dressed smartly in back and looking like a quartet of Vic Reeves lookalikes. Hawley's slicked hair, shiny suit, crooning voice and Gretsch guitar made you feel at times like you had been transported back to the 1950s, an effect further enhanced by the use of a glitterball. "I like doing that song," he said, after the glitterball entranced the crowd, "because the audience never fail to gawp at the ceiling, and you lot were no exception."  

But there's a lot more to Hawley than 1950s reto-kitsch. His set mainly comprised songs from "Lady's Bridge" and "Cole's Corner", and included songs like "Just Like Rain", written when he was 16, and "Hotel Room". This song was introduced with the deadpan and distinctly un-ironic "This song is about addiction. And I should know." Such tunes were full of emotion - not overdone, but nevertheless steadily present. At times it was genuinely moving.   Although not given to grand gestures, his music and performance were affecting. As he said at one point "a saw a woman cry during one of my ballads. I said cheer up love, it's not that bad." That remark summed up a gig where humour and sadness rubbed shoulders. It was all oddly life-affirming.

miles salter

Levi's Ones To Watch : Cut Off Your Hands + Cazals + Ox. Eagle. Lion. Man. - Fibbers, York - 17/02/08

Tonight's gig presented one of those line-ups of vaguely familiar names who, given a bit of time and a few more tours, will become radio favourites, cover boys, and the bands who everyone wishes they'd seen before they hit it big. With past acts on Levi's Ones To Watch shows including the Kaiser Chiefs, Editors and The View, it was interesting to see what the tour would throw out this time.

Ox. Eagle. Lion. Man. were the first to show just what the future of music might sound like, with a mix of indie-alternative, post-punk Britpop highlighted by the superb, anguished vocals of Frederick Blood-Royale. Reciting lyrics rather than singing them can work for some bands, whilst seriously hindering others. Luckily for this band, it's the former. Think a less spiritual mewithoutYou and a more tormented She Wants Revenge, coupled with an equally bleak but nevertheless enthralling instrumental accompaniment, and you've got a band worth keeping your eye on.

Cazals are a group who, after having their track "Life Is Boring" feature on a certain mobile phone advert and with an album on the way to be released by French label Kitsune, have a certain sense of excitement surrounding them. Despite opening with a reasonably bland and predictable song (even if it's one they're known for), the rest of the set improved greatly, with the band playing faster, tighter and more melodic numbers. However, the gravelly vocals of their lead singer seemed to jar with the softer sounds of the guitars. It's nice to hear bands merging different generic styles together, except when it really doesn?t work.

Headliners Cut Off Your Hands though manage to do both. They offer a solid blend of alternative-indie, math-rock and danceable beats, conventional enough to get everyone's feet tapping from the opening beat onwards, while little jumps in the bands playing and song-writing still present something quaintly eclectic. A strong set of solid songs made enjoyable work for vocalist Nick Johnston, whose performance seemed to only strengthen as the set progressed - certainly a memorable frontman in the making.

This was an interesting gig showcasing three undoubtedly talented and competent bands, however, it really does depend on what music lovers will want as to whether these three acts will achieve mainstream recognition. Ox. Eagle. Lion. Man are post-punk reformers, Cazals do have a talent for song-writing, and headliners Cut Off Your Hands are able to bridge between indie, nu-rave and math-rock very well. But are they ones to watch? We'll see.

r l wade

KORN - Leeds MET. University - 02/03/08

It was one great moment and a day never to be forgotten. KORN played at Leeds Uni and it was death metallitastic!! Mr Davis showed off the most eccentric microphone that went nicely with the tour title 'Bitch We Have a Problem'- the metallic naked body of a headless insanely fit woman. This has been Korn's most extensive European tour in over 3 years to make up for all the 2006 cancellations, after frontman Jonathan Davis was diagnosed with a rare blood disease (Idiopathic Thrombocytopenic Purpura). It sounds scary but you can live with it.   Soundwise they are in top shape and if you were stood at the front, you could hear the most perfect metallic sound. You could see why that voice earned the respect of the music industry. But if you stood at the back, as I had to after being crushed to death at the front, taken to first aid for a couple of songs and being allowed to go back after throwing a tantrum, then the sound just died. It sounded like something coming out of a telly. So top marks for the 2 Grammy awards band, whose musicality never bore us and continues to span in all directions, "If we wrote the same records over and over but were still commercially successful, I would consider that a personal failure." (Davis) Also top marks for support band Flyleaf's lead singer, whose gothrock voice makes the whole band worth watching.   However... what a crappy venue for a band like Korn. Munky looked positively unimpressed at the amount of lads and girls pulled out from the crowd half dead and in need of medical attention. But what an experience to listen to the liberating sound that is KORN and hearing the crowd go nuts and sing every song perfectly in tune. Just wished they didn't behave like savages at the front.

sandra garcao

Radio Gypsies - Fibbers, YORK - 23/02/08

Ever wish The Mighty Boosh and early nineties Blur had collaborated? Crisp-fuzzy Boys-and-Girls bass, bouncing disco beats, scarves and eyeliner; imagine that! Or, go and see Radio Gypsies. There were about twelve people in Fibbers on Saturday night, half of whom were in the other bands, and these dabber chaps still came at us like a moss. They made looking effortless look...effortless. The lead singer didn't do anything startling on paper, but there's something about the stubbly blond guy twirling around in a long jacket that you can't take your eyes off. The vocals are the same: laid back, bordering on conversational, and riveting.  

Put your drink down before the Gypsies start; I got caught out by the instant disco-drum pump and ended up wearing half my red wine. (Though my jeans were actually the best place for it, s'the last time I stray away from rum and coke in Fibbers.) The music's saved from being cheesy by the throbbing chemical bass lines and the lyrics which come from all over the place; love the Beatles influence.

The set was well chosen, spiralling guitar hooking us again three songs in and the catchy We Start Fires saved for later. There was just so much to see and do: Johnny Depp with a guitar solo Pink Floyd would've approved, a drummer leaning through his stick wielding to join in the three-part vocals, and a keyboard player with the sweetest smile, an oasis of full clean chords in a pulsating disco desert. I never saw this band in their former Lips Akimbo guise but I'll be following them around like a percussion deprived puppy from now, drink sloshing merrily across my dancing feet.

lara pattison

BECCY OWEN + ALICE AND THE MAJESTY + SERIOUS SAM BARRATT - OLD COURTHOUSE, THIRSK- 02/02/08

Visitors to the Old Courthouse were treated to a fabulous night with some of the best acoustic musicians in the country presented by "In the Dock Promotions". Starting the evening was Serious Sam Barratt who   m hails from Skipton but sings the blues like a native of the deepest South. His songs portrayed the agony of the blues with the pathos of Yorkshire grit, a fine performance from one of our own. Next up was the hauntingly beautiful Alice and the Majesty. Somebody once sang "Who the **** is Alice" well watch this space because Alice McLaughlin is one of this country's most exciting female singer songwriters who has been endorsed by both The Observer and The Times as a rising star. Alice gave a heartfelt and moving rendition of her own songs - her vocal range and singing style reminded   me of a happier Sinead O'Connor with the passion of KD Lang. The final slot of the night went to Beccy Owen. Born in Wales but brought up in North Yorkshire, it's easy to see how at ease she felt in Thirsk. A playful banter with the crowd put us all in the mood and it was easy to see why so many people had travelled from around the country to see this young singer. As soon as she began to sing, Beccy showed us her pedigree - whilst some have compared her to Kate Bush I would personally suggest Tori Amos - the passion with which she sings is evident and the clarity and purity of her voice really does move you. "In the Dock" once again has provided a showcase for incredible music.

York Literature Festival : Carol Ann Duffy - SIR Jack Lyons Concert Hall, York University - 06/03/08

York Literature Festival was upon us for its second year and after a successful debut last year the programme was packed with events; from workshops to readings it had something for everyone. Running from the 1st to the 15th March it was a great opportunity to get involved with York's literature scene. For me, the Festivals highlight was the long awaiting appearance of Carol Ann Duffy who performed at Jack Lyons Concert Hall on the 6th March. She did not fail to live up to my, admittedly high, expectations. A poet performing their own work, no matter how well you know the poems, is like hearing them for the first time. The performance was everything you co uld expect from Duffy; witty, balanced and delivered with comic precision timing. Her novella verse 'The Laughter of Stafford Girls' High' from the collection Feminine Gospels was interwoven with a wonderful collection of shorter poems from the books The World's Wife and her new of love poems Rapture which won the T S Elliot prize. The epidemic of laughter in the Stafford Girls' High was echoed by the roaring laughter of the audience - she had us all on the edge of our seats. Her comic energy flowed throughout her wonderfully wicked storytelling. She brought the characters to life with their own monologues as she read from 'Mrs Tiresias' and 'Mrs Midas', each character as deliciously mischievous as their creator. They immersed themselves within the audience - and Duffy played the roles of the exasperated faculty staff. The mix of reality and fantasy provided an explosive concoction resulting in cries of laughter and rounds of applause from the packed concert hall. This was my first experience of hearing Duffy read and I was not disappointed. The applause from the audience was deafening and she deserved every clap. The only bad thing? It ended.

holly nuttall