live music reviews June 2008

CHUCK PROPHET - FIBBERS, YORK - 24/04/08

Chuck Prophet gives good riff.   He has a talent for earworms; those insistent musical phrases that engrave themselves directly on your cerebellum.  

It's a mystery to me why Chuck Prophet isn't hugely, stadium-engorgingly popular.   Look at the evidence.   He writes great, melodic, articulate songs, and lots of them.   He can sing too, with a great careworn leather jacket of a voice, surprisingly sweet in its upper register but with a rich, soulful bottom end, thickened by years on the road.

He's a great showman, but not in an overly flashy way.   It's hard to pin down exactly what is so compelling, part Tom Petty, part Tom Waits, part Bob Dylan, part guitar hero, part undead Confederate Soldier.   There is undeniably a natural charisma as he leads his excellent band by sheer force of personality.   He gives it everything too - even on a Monday night, in a somewhat smelly venue, barely half full of (almost exclusively) blokes.

Many of said blokes are undoubtedly here to hear Chuck play his guitar; His restless, snaky playing is a delight.   Whether laying down shimmering planes of tremolo-drenched twang, chunking out a fierce funking groove or spitting licks like an angry cobra, his Telecaster always holds the attention.   There's nothing too flashy, no aimless noodling and not a wasted note.

The same can be said of his backing band.   The cliché has it that a band is only as good as its rhythm section, by which measure this is a very good band indeed.   The bass and drums can go from delicate to thunderous in a heartbeat, tightly joined at the semiquaver.   The second guitarist proves himself an able lieutenant and throws in some searing slide guitar for good measure.   The vocal, keyboard and percussive contributions of Stephanie Finch (Mrs Prophet), add colour and harmony to the arrangements.   On stage Chuck uses two microphones, one a standard dynamic vocal jobbie while the second is a harmonica microphone down which he barks, yelps and intones whatever comes to mind.   Its distinctive buzzsaw tone adds a surreal veneer to the Prophet larynx.

These are great songs, performed with real power by fine musicians fronted by a bona fide cool-as-chips alt.whatever icon.   What's not to like?   Why isn't he huge?   How come you can see him on a Monday night in York?   It really does puzzle me.   I think it could be partly because to fully appreciate Chuck Prophet you have to see him perform live.   Don't get me wrong, his recorded output is fine and indeed dandy but it somehow makes more sense once you've seen him do it live.

All of the above notwithstanding, there is one reason why you should catch Chuck Prophet when next he swoops through our fair city: he's the real thing.   He's the wind and the rain and the dirt.   He connects.   In these days of X Factor and I'd Do Anything, Even Pretend Andrew Lloyd Webber's Not Deeply Creepy, that's a precious thing.   

Pete Mitchell

40TH ANNIVERSARY FREE CONVENTION - THE PARK HOTEL, TYNEMOUTH - 18/04/08

Paul Rodgers formed Free in April 1968. Forty years on, four bands got together in Tynemouth to commemorate the influential music of Free and Bad Company. Three of those bands were tribute bands to Rodgers' music, but one of them was an originals band. Classic Rock magazine selected one of Get Vegas' songs for a compilation, that's how well their doing at the start of their career. But they pushed their own material to a side and delivered a very impressive performance at the start of the Free Convention. The lead singer's vocals were soulful and he had a natural music indulging style, void from egotism, giving his performance a kind of spiritual edge. The guitarist had that experimental Hendrix eccentricity that draws the audience and makes them tune in. The other three bands filled the rest of the evening with all the Free and Bad Company classics. Basing Street Band made a good effort with 'Fire and Water' but could have done with a bit more welly. The headlining band Heavy Load had a lead singer that resembled David Coverdale because of his hair and stage moves. Not complaining. I love Whitesnake. His voice was powerful and the rendition of Paul Rodgers' songs weren't bad at all.

The question is, why were Free Spirit not chosen to headline? Both bands performed 'Ready For Love' but Free Spirit far exceeded with their own interpretation. It's a sad song when performed by anyone, but when Free Spirit play it, 'Ready For Love' becomes a sexy song. Interesting how a song with a sad tone and a positive message can be moulded that way, enticing women to sensually dance with slow moves. It must be down to Garry Barrett's raw, coarse and powerful voice, combined with Gavin Paradiso's bass and John Halder's drumming. They give classic songs that rhythmic edge that makes a difference. Some songs like 'Run With The Pack' were performed with Simon Waggott on keyboards, which filled the room with a jazzy rock sound. But John Simpson's guitar solo drove the attention away from it all, showing just how wisely he was finger picked for a band that interprets classics like 'The Stealer' and 'The Hunter' spot on. Noggin appeared onstage as a special guest playing 'I'm A Mover' and 'Walk In my Shadow' with Free Spirit which was fun. Hopefully next year there will be a 41st anniversary that will fill up the place all over again. As long as the convention organizers continue to put on bands of Free Spirit's calibre, they will always do very well indeed!   

words & Free Spirit image: s garção

MILTON JONES + ZOE LYONS + FELIX DEXTER - YORK THEATRE ROYAL - 21/04/08

Two concerns occurred to me when I heard York Theatre Royal were starting a comedy night. Firstly, would they be able to attract enough people to fill the 800 seater theatre? At £10 per ticket, it's easily the dearest comedy night in the city (though it's a very reasonable fiver for under 25s and senior citizens). Secondly, would they be able to replicate the excitement and energy of a smaller comedy club, in such a large venue?

My first fear was quickly quashed. Around 600 punters filled the theatre, and with only the top tier closed, there were few empty seats in the rest of the house. High-energy compere Simon Bligh worked tirelessly to generate energy from the Monday night crowd, and was duly rewarded. He spoke to people in various areas of the house, creating a sense of enthusiasm in the palatial theatre.

Felix Dexter was first up, on a bill which was superb in terms of quality and variety. With some sharp socio-political commentary, leading into fabulously well honed character comedy, Dexter was a fine opener. After the first break, Zoe Lyons immediately won the crowd over with some great local material (she was a student in York), and kept us amused with some original and very funny observational material.

There was constant laughter throughout the evening from the stalls, though it only intermittently spread up into the circles, where I was sitting. However, headliner Milton Jones is one of the best one-liner comics in the country, and soon the whole venue was in fits of hysterics at his ingeniously crafted gags. The only silence came when Milton asked open questions to the house, a tried and tested trick for leading into jokes in most clubs, though tonight's respectful crowd preferred not to join in with proceedings.

York Theatre Royal is a pleasantly intimate venue for it's size, though if you're after the manic danger and excitement of a comedy gig, then dare I suggest you try one of the other stand up nights in the city? But if you prefer a statistically tiny chance of being picked on, then you'll see some of the finest stand up in the country at the Theatre Royal.  

james Christopher

THE BLUESKINS - ADELPHI, HULL - 09/04/08

Kal-el's Cape (you know, superman) are fresh from touring with the likes of Bloc Party and The Magic Numbers.   The Indie-Pop outfit don't disappoint with catchy sing-along numbers and plenty of energy from frontman Shane McMurray (his David Gray-esque head wobble especially endearing).   Definitely a local band to look out for, even if only to see how high they can fly.   So many puns, so little time.

I hate Indie.   So when the guitarists from Kill Surf City both climbed onto the stage wearing the most disturbingly tight jeans I have ever seen I did not have high hopes.   Thankfully, I was pleasantly surprised!   This is Indie, but for those with a darker heart.   Probably best described as arty-electro-indie theatre with the occasional monster riff sprinkled over the top, Kill Surf City are band that actually perform.   I had checked out their Myspace and have a feeling this is a band that are better live than on record, so go see them at a venue near you soon.

It's difficult to know what to say about The Blueskins.   Songs are catchy and they're different from the usual Indie durge that seems to be everywhere at the moment.   It's 'happy blues', the kind that you want to do a funky dance to.   The problem is, is that they just don't seem to be enjoying it.   After the last two bands, I guess I was expecting more energy to come.   They played well, and the songs were musically good, but their sedentary style just didn't do it for me.

It turns out their final song "Change My Mind" is from a lynx advert, that one where a naked guy whips someone with his towel in a bar.   I knew I'd heard of them before.   Brilliant.   The band finally come alive, the crowd finally starts dancing, and things seem to step up a gear.   This song just showed the potential in this band to do something big.   It's just a shame there wasn't more of this in the rest of the set.

Unfortunately the band announced they were splitting up and only 3 gigs remained.   Lead singer Ryan Spendlove (Best. Name. Ever.) told me he's gonna keep writing and set up something new.   Absolutely keep an ear out cos there's definitely potential here for something special.

words: debbie k, image: wiiinston

THE UKULELE ORCHESTRA OF GREAT BRITAIN - POCKLINGTON ARTS CENTRE - 17/04/08

I'm a fan of fretted things - strummed or plucked - and The Ukulele Orchestra Of Great Britain are an ensemble of renown, posessing humour and devilish fast finger skill. And it turned out to be 24 string lesson in self-heckling/punk/light entertainment. They're all very proper and gentile you know - Lisa, Hesther, Richie, Jonti, George and, erm, whistling Dave (don't you dare call it a bass). Their trademark quintessential 1930's Englishness rubbed cheekily against their deadpan trademark parody of classics. Imagine a Quentin Tarantino soundtrack on 6 ukes; Isaac Hayes' "Shaft" with Uke wacca-wacca; a Tsarist Polka 'Leaning On A Lamp Post'; a swinging Kate Bush's 'Wuthering Heights'. Each rendition affirmed their polished show, slickness and broad appeal. Family friendly, non-ofensive, extremely able - so refreshing when THE TALK Magazine is so often invited to review mucky rock'n'roll. Tonight showed that music comes in all shapes and sizes and in the words of Carouser in Chief, George, we were indeed shown "The charm of this diminutive instrument".

words: dean saint john, image: wiiinston

DIVINE SINN + NG26 - WINNING POST, YORK 08/05/08

I was not sure what I was letting myself in for when I agreed to review this gig.   Divine Sinn from Driffield had set this one up. No Quarter Given from Hull was supposed to be supporting, along with an unnamed York band. NG26 from Derby stepped into the breach left by NQG whentheir drummer broke his collarbone.   The York band also pulled out. So in total, there were about twenty people in the room, including two bands.

NG26 are a 4 piece from Derby made up of two pairs of brothers and they are as tight as a gnat's chuff. Rob and Rich Shaw handle the incredibly dark sounding bass and guitar work, and Jon and Chris take care of drums and vocals. Every note was spot on; every halt perfect, every chord change nailed. Rich did slip in a piss take riff of "The Final Countdown" during one song, but even that seemed to fit. Very good and well worth looking out for.

Divine Sinn have not been going that long in their current incarnation.They have only recently gained a drummer and a keyboard player who is also in seven other bands (Dave Grrr - great name). Lead singer Tom is clearly the driving force behind this band, and I suspect most of the songs are his. Performance wise it was a mixed bag. The first two or three songs seemed messy and disjointed. The two guitarists were suffering from feedback, and the PA was struggling to get Tom's vocals heard. It suddenly tightened up in the middle of the set as they got into their stride, and the riffs, solos, and backline all fell into place. I liked the slower "Pride".   It was a good performance despite the very limited audience size, and limited participation. Divine Sinn is a work in progress, and with a bit more practice with the new line up they would go from Sinners to Saints. I would see them again at a venue with an in house PA.   Maybe a trip to Driffield is in order.   

paul cunniff

GRAMMATICS - JUNCTION, YORK - 16/04/08

This venue really is on the rise.   One look at the sculpted and mannered Grammatics suggests they should be playing only uber cool indie venues, but here they are playing the hot bed of cool new music disguised as a pub on a hill.   Grammatics are getting a lot of attention, and the slightly unsettling mix of angular riffs, passionate cello and gripping vocals present in their wonderful single, "Shadow Committee", showed that it was justified.   But can they do it live?   Two bands try to distract me from my continuing speculation. The City Dukes make many a sound, some of them quite good in a gutsy, sharp edged kind of way, but could do with some more focus (and a front man who doesn't try so hard).   A swift half later and The Last Gang have appeared with a rebellious look and some slick well put together songs that are catchy enough to suggest solid potential for greater things.   And then doubts are quashed as I realise that the Grammatics single I have been whistling to myself all night is happening for real on stage, it's multiple thrilling sections carried off perfectly by a technically proficient and singularly individual band.   It is probably still the best incarnation of their music, an exciting battle between angsty frustration and delicate melodies, but their other songs are strong enough to strike new blows in the on going struggle.   When lead singer Owen Brinley picks up his glass of wine and has a sip mid song he takes a sizeable moment to survey the crowd with a half disdainful, half "not bad so far" look that sums this band up perfectly.   Self consciously theatrical, rightfully proud of where they are now but reaching for bigger and more ambitious things.   Count me in.

martin cordiner

LAU + PILLOWFISH - NCEM, YORK -   21/04/08

Before getting on to the main act, full marks once again for a top local support for this third in the series of Black Swan Folk Club / NCEM collaborations. This time it was the unclassifiable Pillowfish, whose original sound draws as much from chanson as from British traditions, the mutant bouzouki / viola interplay weaving a beautifully haunting, sometimes pleasantly disconcerting web. Think Jake Thackray sitting in with the Incredible String Band (go on). I confess to approaching headliners Lau - an Orkney word for the light that comes off a fire, in case you were wondering - with just a touch of cynicism. Debut album Lightweights and Gentlemen was damn fine, but surely not enough to justify the outpourings of hyperbole every time their name is mentioned. Waiter - fetch me a supersize humble pie, please! Yes, this trio are breathtaking. From the opening tune set, the near telepathy between Aidan O'Rourke on fiddle and Martin Green on accordion is mesmerising. But the real revelation seeing these guys live is Kris Drever's role as Thor God of Thunder on acoustic guitar - something that doesn't shine through on the album. That's not to say that his playing lacks subtlety - far from it - but where most bands feature the guitar as a backdrop for the tunes, this is filling out the bottom register, giving things a seismic, architecture-threatening dose of welly. Suddenly, it makes perfect sense that in my nerdily alphabeticised CD collection Lau sit between Last Night's Fun and Led Zeppelin. There is a dramatic angularity to Lau's melodies, at times swinging into full Bernstein widescreen, courtesy of Green's accordion which often seems on the verge of turning into a one-man brass section. Naturally, much of the set comprised material from Lightweights, but perhaps the highlight was O'Rourke's new composition, simply titled 'Sea', which spectacularly conjures its changing aspects. By the time you read this, 'Sea' will have been released on the new live album, which I hope will capture them as the full house at the NCEM saw them tonight. Best Live Act, said the BBC Folk Awards - and they may just have got that category right.

words: oz hardwick, image: phil myers

THE INFLUENTIAL FACTOR - ACORN RUGBY CLUB, YORK - 13/04/08

How many people know the exact size of The Acorn Rugby Club?   And do they know that it's not necessarily an exclusive Rugby club per se, but in fact it's a music pub?   An actual venue bigger than Fibbers with a good size stage and a dance floor right at the front.   The whole structure, the way the tables, chairs and space are distributed is perfect to enjoy a drink and a good band on stage.   The stage lights are excellent and the bar staff very friendly, offering good service and drinks at the lowest prices you will probably see in York.  

On a Sunday bands go onstage at about 3.30pm and The Influential Factor were prompt.   They attracted a crowd of about a couple of hundred people that enjoyed every minute of the mod sound coming from the stage.   There were girls and a few more adventurous lads at the front dancing, and lead singer Alan knew how to connect with his audience.   That always makes a difference to a gig. It was altogether a great atmosphere and the sound of 'Teenage Kicks' and 'Changing Man' blasted out of the speakers, whilst the audience sang along at the top of their voices, always ready for a good British born song.   I give The Influential Factor a top marks for playing 'High Heeled Sneakers' in the way they did - made me want to get on top of a table and dance with my shoes off.   The band efficiently played tunes by The Jam, The Who, Paul Weller and The Arctic Monkeys, giving their audience a great time and a lot of interaction, so everyone left the venue looking forward to the next time.

words & image: s garção

STEWART LEE - POCKLINGTON ARTS CENTRE - 19/04/08

Cult comedy hero Stewart Lee has said that stand up is best performed in rooms of under 200 people, such is the intimacy required for this most personal of art forms. He must therefore have considered Pocklington's 180 seater Arts Centre to be the perfect venue for his current show, 41st Best Stand Up Ever.

The title is a reference to his position in a Channel 4 Top 100 programme, which should give you some idea of the reverence he's held in. Lee should be applauded for his integrity with regards to venue size, however I'd suggest that the small but picturesque town of Pocklington gave Lee a slightly older crowd than he's used to.

Lee is celebrated for his uncompromising and original style, which incorporates meticulous and often barbed material with an extremely mannered delivery. He revels in repetition, cultivating numerous recurring themes, often presented in a highly conceptual and innovative style. During tonight's show, Lee employed such unorthodox techniques as going off mic to wander the crowd, tapping the mic against the stand to portray a tombstone being defaced, and made numerous references to a joke by Tom O'Connor.

Many of tonight's crowd will be able to recall quite clearly when Tom O'Connor was a primetime TV star, some may even be fans of his daytime output. So it's testament to Lee's comedic mastery that despite all this willful experimentation, he is greeted by almost constant laughter. On the rare occasion a joke doesn't fly, this is immediately addressed and woven into comedy by the gleefully deconstructive Lee, who mischievously mocks the crowd when he feels they aren't up to speed.

The opening act, German comedian Henning Wehn is also worthy of note. Henning gets great mileage from jokes based on cultural stereotypes of his homeland, before subverting expectations about his nationality to great effect. He also nicely paves the way for Lee with a lengthy routine about the history of cardigan manufacture, laden with irony and mock sincerity. Wehn goes to some length to argue that the development of cardigan manufacture is ongoing, on an evening which proves that the perimeters of stand up comedy are equally transitional.

james Christopher

TOM HINGLEY + PLAYER 1 - STONE ROSES BAR, YORK - 25/04/08

T'was one of those nights. Freshly barred from my local Indian restaurant, I hurried through the drizzle to find Radio Gypsy, worth a fiver alone, wouldn't be playing as advertised. I cheered myself up watching the Stone Roses bouncers at work: "It's a fiver tonight" "Y'what?!" then entered the half-full pub when Player 1 started.

The evening instantly improved. I've seen these chaps before, but this time a fat jazzy Tanglewood guitar added a semi-acoustic twang. Crisp, busy Rickenbacker bass lines and the tiniest cymbal in the world cemented the lively new sound.

The Players' energy and intelligence buzzing the room, I felt revived when a bloke in jeans and jumper got up to sound-check. Then he mumbled: "Sorry, I'm having problems with my guitar" before striking up again. Wait a second...

I'm not saying that Tom Hingely had to look good. So he's a bit older, so he was dressed like he'd just installed a kitchen; a bit of eye contact would have wooed me. Sadly the ex-Inspiral Carpets front man made little effort to engage us, and the Stone Rose's PA system couldn't fill the large space with one man and a guitar, sounding increasingly tinny against the hubbub of conversation. The call and response between Hingley, still in great voice, and the crowd during 'This is How It Feels' was the highlight of the evening; you couldn't help but be moved by the nostalgic enthusiasm of the die hard fans. However this was definitely their gig, and personally it was Player 1 who made my night.

lara pattison

ACOUSTIC TREASURES - CHERRY BURTON - 10/05/08

A sampler for June's Beverley Folk festival, tonight's line up at Cherry Burton Village Hall gave us Miles Cain, Jess Bannister, Paul Liddel, Edwina Hayes and The Neumes. The running order being arbitrary, Miles Cain opened and was well received with his sincere and articulate Americana; followed by Jess Bannister and her fabulous voice. At just eighteen I think given another couple of years she will have progressed lyrically and be very good. The blasting multi-layered acoustic guitar/vocal live sample compositions of Paul Liddel were really special, ripping the mellow atmosphere. However the much talked about Edwina Hayes easily nursed it back round again with her achingly sweet Nashville vocal delivery and simple finger picking accompaniment. A very natural and entertaining act to watch. Rounding off the evening The Neumes showed their multi-instrumental skills yet somewhat lacked a professional focus displayed so far on the bill. A little distracting this as once they were on task they harmonised beautifully and revealed a fresh piano driven Jazz inspired style.

A show of hands revealed that many of the audience were new to the venue - yet the broad pallate of style and stage craft on display tonight will be sure to guarantee more numbers at the festival and at future Cherry Burton Arts shows.

words: dean saint john, paul liddel image: wiiinston

OCEAN COLOUR SCENE - GRAND OPERA HOUSE, YORK - 14/04/08

OCS exploded onto the Britpop scene in the early 90's and quickly became both nationally and internationally famous. Their first album, self titled "Ocean Colour Scene" was released in March 1992, but it was to be their second album "Moseley Shoals" that propelled the band into the limelight. Containing four hit singles the album shot to number 2 in the album charts. Feeding the souls of their now eager fans, they brought out album number 3 "Marchin' Already" in September 1997, knocking Oasis from the top of the charts. Tonight they played host to an army of Northern supporters in the intimate venue of York Opera House, performing a unique acoustic set.

As front man Simon Fowler swaggered onto the stage to greet the crowd, the cheering, foot stomping and clapping filled the whole auditorium. With an appreciative smile he sat down at his stool and began strumming the first chords of "So Low", creating another rumble of applause and the fans began singing along with the lyrics. As he reached the end of the track he cheekily blended lyrics from the Oasis track "Live Forever", as the rest of the band joined him on stage. A fantastic opener, which set the tone for the evening.

The infamous guitar riff of Riverboat Song, best known for featuring on Chris Evan's TFI Friday picked up the tempo and saw Oscar Harrison play a selection of percussive drums, bongos and maracas adding more rhythm to the acoustic vibe. Steve Cradock's use of slide guitar during Mechanical Wonder created a warming sound to the beautifully crafted track while the combination of Fowlers vocals and Cradock's organ work gave "Robin Hood" a distinct Dylan sound. My personal favorite "Better Day" was delivered with astounding emotion.

The banter with the crowd throughout their set was cheeky yet entertaining. They encouraged crowd participation and at several points requested the house lights to be lifted to improve the atmosphere, making the experience feel that touch more personal.

It was clear that the crowd were more reactive to the older tracks and as the lyrics "I never saw it as the start...." from The "Day We Caught the Train" echoed around the auditorium the crowd were quick to respond with the loudest cheer of the night. As they ended their set were rewarded with a standing ovation, proof if need be that the Britpop sounds can stand the test of time even when stripped back to an acoustic delivery.

emma Jackson

CHRIS HELME - LITLE BOAT GIG, HARTLEPOOL - 25/04/08

Moored in the marina at Hartlepool MV ELLA plays host to select acoustic artists and only holding 40, the shows always sell out. Thus you enjoy an enviable intimate atmosphere. Being on the water's a treat, getting a ticket's another and we also got the Little Boat Promise: high quality songwriting and performances.

Lee Madison, accompanied by the well placed guitar figurings of Bob Garrington, broke the night in with some warm and mellow John Martyn-esque material and by last track 'Night Circus' was really getting fired up. The guitar/electric bass line up for following husband wife duo Mercedes provided a warm backdrop for their original material. Particularly 'Ready' was full of Radiohead moodiness and musically they displayed a strong sense of dynamics.

Never wanting to rush things Chris Helme, with a new release "Ashes" has now set out his stall as a solo performer. And he hits the mark. A roguish rapport with the audience shows it's clear that he knows he has arrived at the end of a slow burn and is now at the brighter status of a mature and rounded performer. He played material spanning his whole career - the no-need-to-name big hits rubbing shoulders with older and newer lesser known treats showed the thread of quality which has linked all his compositions. I really think the heat is now on for him.

words: dean saint john, chris helme image: www.davidxgreen.com

MUSIC CAFÉ NIGHT - STEPHEN JOSEPH THEATRE, SCARBOROUGH - 11/04/08

Headliner Jesse Hutchinson remarks that his guitar "sounds like a dead old piece of wood" to a packed crowd in the refurbished restaurant at The Stephen Joseph Theatre. It's a battered old looking instrument, but Jesse sounds thrilling. His voice is so powerful, it   threatens to shatter the glass of the art décor window behind him. A thrilling rhythmic and harmonica player, Jesse's cover of Neil Young's   "Harvest Moon" has his own personal stamp written all over it. If any member of the audience tells you that feet weren't tapping during his performance, they are bare faced liars.

With a rhythmic style not that many moons away from Jack Johnson, opening act Alastair James was another cause of contagious foot tapping. The sixteen year old took to the stage with natural ease and confidence, opening with self penned "Take The Chance" and   an evocative rendition of Marvin Gaye's "Sexual Healing". Incredibly gifted, James's "I Want to Fly to the Moon" belied his age; his voice as clean and pure as his white trainers, while his guitar harmonics floated magically above restaurant tables.

Three piece, The Acoustic Project, also touched the crowd with close harmony singing on "Strange Radio" and "No TV License"- which didn't sound a world away from The Byrds or Turnin Breaks. Chris Williams and Phil Simpson's voices gel beautifully together and "Faces" was another winner, with its soaring chorus. Their set could however have benefited from a change of pace, with songs largely in the same tempo, they threatened to blur into each other at times.

Tonight wasn't just about guitars though; Amaya Huntley's slightly eccentric songs and quirky piano playing were delighftul. With a voice as rich as   my pint of Guiness, Huntley's apparent nerves were well hidden. Possessing a beautiful falsetto, Amaya debuted a song she had written earlier in the day while "Beautiful Rose"   was a poignant account of an old couples love. With tonight's acts hand picked by organiser Steve Dickinson, one can't help but wonder what other acoustic treats he is planning for this September's Acoustic Gathering Festival.

words & jesse hutchinson image: david wright

MOVEMENTS - ST. LAWRENCE WMC, YORK - 18/04/08

"Movements" is a well established event that prides itself on offering the finest selection of local, home grown UK Hip Hop and Trip Hop talent to its eclectic fans. The night was started way back in September 2007 by Fist Full of Yen member, Kirk Barley AKA Bambooman, in partnership with Khoo, a local DJ.   After the success of the first event held at the York City Screen, Basement Bar, subsequent events have been held on a monthly basis at various venues around the city, including The Junction and St Lawrence WMC. Forming strong links with the other music events hosted in York, Movements have also held a joint event with Tinnitus, the local Drum 'N' Bass night. All future Movements events are also due to be held up at The Junction, Leeman Road.

The last event, held on Friday 18th April at St Lawrence WMC, was the final Movements to be hosted at that particular venue, due to its closure. The line up for this event brought Alphabetix across from Leeds and Versatile and Profanity down from Middlesborough, as well as offering Bus Monitor, Khoo and Bambooman from the local area. AND if that wasn't quite enough there was a TWO-hour, four-way back-to-back Drum 'n' Bass special to round off the night nicely (out to all you ravers).

Alphabetix consists of 3 MCs, 1 beatboxer and 1 DJ. Profanity is an MC and Producer, currently recording his EP "Sofa Polotikz". Versatile, is a DJ who forms part of the group Project Mayhem, who released their debut EP Creative Destruction in 2007.

The first 3 hours of the night started off with the founders of Movements airing their musical talents; Bambooman playing his own self-produced hip-hop CD deck set and moving onto Khoo spinning a 1 hour hip-hop instrumental set and 1 full hour of funk.   Between 10pm and 11pm Profanity and Versatile performed their joint DJ and MC set. The run up to midnight brought Alphabetix, their last track being the highlight of the night, with the full Alphabetix MC crew, MC Profanity and local MC Switches all on stage, freestyling over a Beatnutz instrumental. Bus Monitor played from 12 midnight, showcasing his entirely live and self produced lap top set, working his way through various genres including hip-hop, techno and breaks. The night ended with a rowdy 3-hour 4-way mash-up between local Drum 'n' Bass DJs Will P, Notez, Rozzle and Chunk.

There was, as usual, no trouble at the event and many thanks go kindly to St Lawrence WMC for allowing Movements the opportunity to hold their previous events there. The next event is on July 4th featuring Northern Hostility.

words and image: www.myspace.com/dubbedimage .

TING TINGS - FIBBERS, YORK - 15/4/08.

Ah, the music business.   Rock stars are becoming increasingly like actors, with early band incarnations being the musician's equivalent of the hopefully forgotten, "before they were famous" tampon adverts starring Courtney Cox.   So it was with the Ting Tings, who first appeared in the world as vaguely melodramatic outfit Dear Eskimo and cut a well harmonised song called "Patience", ironic as the Ting Tings rise has been so rapid.   Tonight the exciting and more-ish twosome return to a venue they last played when singer and guitarist Katie White had a mere four weeks worth of guitar playing under her chic belt (and forgot to turn her amp on).   They are preceded by Anni Rossi, a performer accompanied only by herself on violin.   Her punchy, percussive plucking of catchy hooks is pretty unique and she has an impassioned warble to match, but I'm not sure how much music she will be able to get out of such a restricted sonic palette.   Then The Tings are on and launching into recent single, "Great DJ", which is the kind of buoyant groovy toe-tapper that they make the trademark of their set.   They play instantly enjoyable music but it is relaxed, catchy and soulful rather than forced or by numbers, and it sounds all the better when played by the well built, shades wearing drummer and lazy eyed, floppy fringed, head bobbing front woman before us.   Dear Eskimo's harmonies are still present, as is some of the slow burning stateliness in the calmer tune, "Traffic Lights".   They finish with the fabulous anthem to individuality, "That's Not My Name", its pounding indie funk boom propelling an extended final chorus that is perfectly matched by White's out-of-control stage histrionics.   With an act this good the world will soon be theirs - and rightfully so.

martin cordiner

THE CROCKER BROTHERS - CEMETARY CHAPEL, YORK - 02 / 05/08

Remember the moment you first heard one of those unforgettable time-stands-still voices? Pick your favourite - Emmylou Harris, Iris DeMent, Nanci Griffith, Patty Loveless, perhaps. You'll never forget the time or the place. Around 150 of us had a moment like that at 8.15pm on Saturday, May 3. The place? A starkly beautiful chapel hidden in one of North Yorkshire's little-known gems, York Cemetery. An extraordinary venue for the extraordinary voice of Kathy Crocker. It was an appropriate location too for Kathy's repertoire of songs of love, longing, loneliness and loss - well, it was an evening of folk and country. From the traditional lament of Johnny Has Gone For A Soldier, via Karen Staley's aching classic, Half Over You, this was a voice that had it all - strength, clarity, tenderness and spine-tingling vulnerability. Then it was on through the Johnny Cash arrangement of Wayfaring Stranger, finishing with the timeless simplicity of Jean

Ritchie's My Dear Companion. It was hard to believe this amazing singer had performed in public only four or five times before. Breathtaking - and hard to believe too, that this was just the opening act!

Next up was Kathy's husband, David, who, together with elder brother John, and honorary sibling, Alex Somerville, are The Crocker Brothers. It's not enough that Dave is a virtuoso mandolin player; he could probably outplay Nashville's finest on the fiddle, banjo and guitar too. It's not enough, either, that brother John is a mean guitar-picker and accomplished songwriter. No, that's nowhere near enough. These two also have that indefinable magic that only some singing brothers can achieve. It's no understatement to say that when their two high tenor voices intermingle and entwine, you'll think of the Everlys, the Delmores and the Louvins. Exalted company.

Yes, they really are that exceptional. Oh, and did I mention Alex? Quite simply one of the finest bass-players you'll ever hear. His understated playing of rare subtlety, underpinned the dazzling vocal treats - and drove along the livelier numbers with punch and verve.

The set swept through a Reno and Smiley railroad tune with a tough raw-edged raunch, past the Delmore's shimmering Blue Hills Of Virginia, stopping for a Midnight Ramble with Ralph Stanley. En route they are joined by Kathy for a clutch of showstoppers, including Darrel Scott's You'll Never Leave Harlan Alive, plus David on a couple of the fastest finger-perfect banjo tunes ever played. The set was punctuated with a treasure chest of John's own brilliant songs, notably Take This Thing Apart, the title track to their new

album, and the darkly resonant Below The Waterline.

And still there was more! How could a headline act follow this tremendous feast of the finest bluegrass this side of  the Smoky Mountains? Simple: bring on Johnny Dickinson, a long-time pal of the Crockers, and the leading slide guitar player from these shores. At times it seemed as if Johnny was channelling the country blues of Tampa Red by way of Mississippi Fred McDowell, Son House and Bukka White. His soft and relaxed yet expressive vocals were reminiscent of a young Willie Dixon, though never straying far from his Northumbrian roots. The Tyne bridge was straddling the Mississippi delta - and it was spell-binding.

One highlight was an apparently effortless, almost introspective, rendering of Mercury Blues, K.C. Taylor's standard, covered by everyone from Steve Miller and David Lindley to Meatloaf - and never better than this. Along the way came masterly improvisations, mixing Hawaiian steel guitar stylings into a dreamy Summertime stroll with the Gershwins. Utterly captivating.For an encore, the Crockers joined Johnny, summoning the spirit of Leadbelly for Goodnight Irene. A perfect end.

david nicholson, images james jessiman www.flickr.com/snaggle_toofer

FAIRPORT CONVENTION - FIBBERS - 02/05/08

'Fairport Convention: Your friendly band in a small room,' said Simon Nicol at the start of the second set, 'we're sorry for those of you who can't see us - but more sorry for those who can.' Yes, it's been a long time since Fairport outgrew venues like this, but they seemed genuinely pleased, in a wryly amused sort of way, to be in such intimate surroundings. And it was a real treat for the audience, too - at least, those within sight of the stage. The gig was part of an acoustic tour which, when we're talking about a band which has been around for over four decades, may suggest cocoa and slippers, but in Fairport's case it's been 40 years demonstrating just how powerful acoustic instruments can be. And it wasn't a nostalgia trip, either. Following last year's celebrations of the mighty Liege and Lief, this set drew very much on the current, longest-serving Fairport line-up. There were, of course, nods to their rich heritage, with timeless gems like 'Now Be Thankful' and 'Walk Awhile', along with a couple of trad. arr.s, but the core was provided by the songwriting of Chris Leslie, who brought such renewed focus when he joined in '98. Whatever your tastes, anyone passionate about music will recognise themselves in 'The Wood And The Wire', a sing-along classic of the lure of musical instruments. At the other end of the Leslie repertoire, the idea of a song about a vicar and a polar explorer may not quite thrill the masses, but the song in question - 'I'm Already There' - is simply magnificent: lyrically perceptive and a masterclass in dynamics. From the acapella quote from 'Lord Franklin' to Ric Sanders' fiery fiddle solo, it also offers bassist Dave Pegg and percussionist Gerry Conway an enormous canvas which they decorate with some of the finest work of their careers. It is testament to the band's status that, even with the stripped-down acoustic format and in the cramped confines of Fibbers, the sound was as expansive as it is in front of thousands at the Cropredy festival every summer and, as voices joined in the customary encore of 'Meet On The Ledge', I expect most of the audience were looking forward to that particular annual rendez-vous.

oz hardwick

ABANDON EARTH - THE WINNING POST , YORK - 2/5/08

Tucked away in the function room next to a big spread of sandwiches, Abandon Earth's big debut gig was low-key and attempts at rock'n'roll tension dissipated harmlessly into the relaxed surroundings. What was left were well-executed songs that wafted and happily floated, loosely clambering epic heights yet tending to shy away from the full, free, spacy panaromas that opened before them. Grappling with mismatched sound levels and a setlist that sagged in the middle into more steady rock territory, things only really came together with their belated encore: coherent and newly inebriated, they plied into songs that swooned and pouted, that slowly dissolved their rock-power urges into a soft, uncertain haze and stretched yearningly to the ceiling - invoking all the Keane comparisons you could wish for - yet remaining kind of unformed and expectant, as if the band themselves were at the precipice, tiptoeing and testing their musical range, still striving to sharpen their emotional weight to a piercing expressive point.

And, as I greedily scoffed the complementary sandwiches whilst the last punters straggled out and the bar staff began looking impatient, it dawned on me that - hell! - bands like this could actually achieve something with a bit more focus on their musical vision. Abandon Earth certainly had the musical chops, and hinted a few times that they might have the musical imagination to nail down a really affecting set - so, um, watch this space...

colin the fabulous llama