THE YARDS - YORK MINSTER - 29/05/08

After watching morale crushing documentaries about the environmental chaos that will cause our own extinction, how life will do nicely without mankind, and... documentaries about men having meaningful life relationships with vehicles, it was surreal to sit in the hauntingly beautiful York Minster and listen to music that makes life as a human worth living.  

Hayley Hutchinson sat at the altar before a very attentive audience and projected her voice. It was eerie how quiet the audience was, how vast the room was, how Hutchinson's voice clouded the imagination and left us in awe.   Simply beautiful was the rendition of every song she sang. You do need to taste bad things from time to time and sink so low, only to listen to a voice that exquisite and be lifted up to the ceilings of the minster's left wing. By the way, have you ever noticed the ceilings' paint work?  

Andy Stones is another secret of York kept a bit too secretly for our own good. He braved the audience that evening with his guitar and talent that York should be most proud of. His song "Victoria Green" has just been used in a short film by Shyla Lee and will be shown at film festivals in Britain and most likely abroad. His acoustic sounds travelled all around up and down and sounded like the big sound of a large venue.  

The Yards were, I'm deeply ashamed to say, a revelation. Never heard them before.   Heard of the name Chris Helme time and time again but... now I heard the music. In York we're surrounded by talent to such an extent, we take it for granted. Then Chris Helme opens his gospel like vocals and pierces the air of a large place of terrifically high ceilings, and that very voice, like a veil, conceals to comfort your ttroubled soul and you realise then that most of the talent you admired so far, is rather ordinary comparing to this. Real talent is to have the ability to touch a troubled soul and heal it even if for a moment while you sing a song or play an instrument.  

Just when you thought this world has become an hostile environment breading insular communities void from sincerity, hospitality and a genuine friendly smile, like the smile Howard Sparnnen used to generously offer, then suddenly a few hundred gather together with something in common - the music of The Yards.   If you were there and had goose bumps all over your skin, you were not feeling cold.

words: s garção, image: rob Teasdale

SONS & DAUGHTERS + THE YOUNG BELIEVERS - FIBBERS, YORK - 31/05/08

It's only been 6 months or so since Glaswegian rockabilly-garage-indie outfit Sons & Daughters last tore their way through Fibbers. They were on the up then, riding a wave of acclaim for album 'This Gift', stars of NME's on-line tour diary and bolstered by a support band (Victorian English Gentlemen's Club) who gave them a run for their money. Things are a bit different this time.   Fibbers is in flux, with new staff, new and even less inspiring beers at the bar, and attendance is thin for a national touring band of this stature.   Local three-piece The Young Believers frankly don't help. They seem so determined on making their folk-tinged strummings so precisely correct that they seem to have forgotten to inject any genuine drama and bite. Their set ambles along to no great conclusion and proceedings are still distinctly flat.

Sons & Daughters thankfully fling themselves with vigour and alacrity into the task of mainlining some grimy urban Caledonian atmosphere into York's dull Friday night. They're looking distinctly more road-worn than last time - guitarist Scott Paterson is missing his usually immaculate quiff and singer Adele Bethel's spangly top has been replaced by a Patti Smith t-shirt that desperately needs to meet the business end of   an iron, but they're on absolutely ripping form.   From the opening lashing twang of "Gilt Complex" they drive through every song with dramatic charge and aggression, and the shoddy sound seems to draw an absolute powerhouse of a performance;   Bethel's vocal performance is determined and intense, particularly on "Rama Lama" where she works herself into a furious frenzy in the chorus, howling accusatorially over Paterson's menacing guitar.   Other highlights come from the new album - "The Nest" is a dizzying stomp and "This Gift" turns into a hypnotically titanic gutter drone, as if Queens of the Stone Age had ended up Scottish, skinny and snarling. By the time they hit the beefed-up Stooges attack of "Johnny Cash" they're absolutely flying, cheerily bantering with the crowd and gleefully attacking their music. It's a crime that this superb band seem stalled because they don't quite fit current trends, but then selfishly that means we get to see them up close and intimate. Top band, top gig, long may they continue.

tim procter

STUART MACDONALD - SCARBOROUGH JAZZ : THE CASK INN, SCARBOROUGH - 21/05/08

Not everyone is glued to the TV watching tonight's European Cup. Personally I couldn't care less if the reds or blues win. Football's not really my cup of tea, just as jazz isn't to everyones liking either. Even so, I'm initially concerned at the poor turn out for this Bradford saxophonist. MacDonald's husky tenor is backed by a resident house band, featuring promoter, Mike Gordon, the founder of these weekly jazz nights. He warms up the friendly crowd with some beautiful piano on "I've Fallen In Love Too Easily". It's an intimate atmosphere; the place is beginning to fill nicely as Macdonald opens with "There Is No Greater Love". Posessing a deep rich tone, Macdonald's timbre has echoes of legendary tenor Ben Webster.

Its shame I'm about the youngest in the audience, because more people should be exposed to this musical genre. Tonight would have been an ideal night for the jazz virgins of Scarborough. Nothing too heavy or way out in evidence, Macdonald   treated us to Ellington classics such as "Take The A-Train" and an unusual take on "Satin Doll" in 3/4 time.

Although highly competent on tenor sax, Macdonald switched to soprano sax halfway through "Sweet Georgia Brown".   The poignant waltz "Someday My Prince Will Come" was also another showcase for Macdonald's fluid technique and imaginative improvisation. Joking that the resident band had "been off the alcohol for months", Macdonald looked in relaxed mood, listening and smiling alongside the crowd as Bob Walker crafted some magical sounds from his bass during his feature in "All The Things You Are".

It's all held together by Dennis Hitch's skins, a man who looks at home behind the drums as an accountant behind a desk. As the night draws to a close, its devil's advocate, the quartet almost becomes background music to audience chatter. Perhaps sensing this Macdonald, closes with a stomping blues and the night is complete, the place is packed and feet are tapping. You'd have never have guessed there was a football match on tonight.   

david wright

ADRIAN BYRON BURNS - THE SPEAKEASY, YORK - 13/05/08

Mr Byron Burns is the consummate performer - a great voice, fabulous guitar playing and very affable with his audience. The provenance of the artists, including Neil Young and Bill Wyman, he has worked with over the years is quite staggering, and he brings all of that experience and confidence - and his own talent - to the stage. Anyone who saw him a while back at the Num Num Club will recall how he quite simply knocked us all sideways. I try to get to see him every time he comes to York, and he has never disappointed yet. On this occasion the host venue was The Speakeasy on Gilligate (formerly Cert. 18), and I also wanted to see how this new venue panned out.

Well Adrian delivered again. He has a way of playing songs - both his own (which I would love to hear more of) and his unique take on others' material - which means you never quite get the same thing twice. He's evolved a relationship between guitar and vocal delivery that is expertly loose, an exceptionally soulful voice that can range from high to a low bass growl, sometimes almost in talking mode, chord sequences just the right amount off-centre to jerk you out of the predictable but keep the groove, interspersed with lightning riffs and solos.   His choice of songs fits this too -   wide-ranging and eclectic (an over-used word that's totally justified here) - and he plays them either singly or in segue-form - you really MUST hear his tribute to Hendrix sometime. Everything from Albert King to Dylan to Neil Young (of course) and the Beatles is in there. Don't miss his return to the Speakeasy on July 23rd.

As for the venue - good sound quality, and a (largely) listening audience. But I do hope they maintain the policy of turning the music off at the front of the bar when a gig's on at the back- and please, PLEASE switch the pool table off during the performance. Music of this class deserves attention.

david ward maclean

DAN NIGHTINGALE - THE SMIRKING ROOM, LEEDS - 19/05/08

York's array of historic pubs are rarely found lacking, though the absence of a truly palatial Victorian pub is one particular omission. York was impoverished during the Industrial Revolution, and so little was built during that period. One thing they did manage was a railway station, so now it's only 20-odd minutes to Leeds, where more Victorian architecture can be found.

The Adelphi pub is a fine example, and sits on the corner of Hunslet Road at the bottom of Briggate. Several cosy partitioned rooms surround an ornate central bar, stocked with a dizzying range of ales and imported beers. As you ascend the sweeping staircase you'd be forgiven for thinking of Gone With The Wind, and after several pints of Belgian wheat beer you probably will be.

There's a charming function room upstairs, with a stage and small bar. As such, it's a superb venue for The Smirking Room, a fortnightly comedy night, run independently by local comedians.

On a sunny evening in late May, around 80 punters were seated and ready to be entertained. Amiable MC Lou Conran hosted excellently, with an upbeat and chatty style. Ms Conran is not unlike a comedic school teacher, full of bubbly energy as she rewards the crowd for their compliance and gently chastises their disobedience.

Peter Smith opened well with a self deprecating style and some nice routines. Character act Danny Pensive followed, with a superb and unusual set comprising songs, diary readings and nicely honed stories. His somewhat eccentric, bumbling delivery results in some delightful stream-of-consciousness improvisation, as Danny ambles the tangential stepping stones of his mind.

The headliner was typical of the calibre of acts The Smirking Room can attract, despite the modest £4 entry. Edinburgh-bound Dan Nightingale previewed his forthcoming Fringe show to an enthralled crowd. His subjects are familiar in stand up; drinking, relationship traumas, etc, but he tackles them with such flair and energy that his routines are always original and funny.

You can see extended sets from some of the best comedians in the country at Smirking Room, alongside briefer glimpses of newer acts, and the atmosphere is one of encouragement and appreciation of the art and creation of comedy.

www.myspace.com/thesmirkingroom  

  james christopher

YORK FOLK WEEKEND - THE BLACK SWAN, YORK - 31/05-01/06/08

Not a month goes by without The Talk running a couple of reviews either from the Black Swan Folk Club itself or from one of the collaborations with the NCEM. Recent years have seen the demise of a number of other long-established folk clubs, but the Black Swan has managed to thrive, with a calendar boasting appearances by some of the finest performers of British and, indeed, international folk music. But what ensures the longevity of a folk club isn't just the big names; it's the floor singers and other local performers, along with an appreciative audience, who keep the music - and the club -alive. And this is very much what the Folk Weekend is about. After a series of successful Folk Days over the past few years, club organiser Roland Walls this year took a leap of faith and expanded the event over Saturday and Sunday, trusting that 'they will come': and they did. The main focus, perhaps, was the marquee stage, where many of the Black Swan regulars, along with stalwarts of the Tap and Spile Friday Sessions, got the chance to do their stuff in extended sets. So we got to hear Eddie Affleck's lilting ballads, Two Black Sheep and a Stallion's rousing harmonies, and a whole roster of excellent performers: Susie Fox and Jack Firminger, Chris Eusden, Phil Cerny, Dan Webster, Los Yobos, Geoff Watson and too many more to mention. Not a 'big name' amongst them, but as good a weekend of acoustic music as you're going to get anywhere this summer, and all for free. But, of course, it's not all about the main stage, and with an indoor acoustic concert (of which my personal highlight was the mighty Monkey's Fist, with their storming maritime repertoire), rolling folk club, singaround, instrumental session and even a 'poems and pints' lunchtime session, not to mention some exuberant dance interludes, the weekend provided a real affirmation of the rude health of the York folk scene and the club which is at its heart. I'm sure I can speak for the hundreds of people who passed through in congratulating Roland and his hard-working team for making this first Folk Weekend such a success.

words: oz hardwick, Midnight Special image: phil myers

BEST OF THE BANDS - GRAND OPERA HOUSE, YORK - 09/05/08

A meeting of York's finest young musical talent in front of a crowd of 1000 and a golden opportunity to make a name for themselves. Sitting in the stalls, I couldn't help but notice the atmosphere of anticipation and excitement in the quickly gathering crowd. Lots of giggling schoolgirls and proud parents, everybody seemed to know everybody, giving the sense of a real family feeling. By the time KAFKA opened the show, everybody was in their seats and the place was buzzing.

The music itself was very Indie orientated; highlighted by Paris Commune and Red Zephyr, who I thought were particularly good and very unlucky to get nothing at all from the night. I can't say Indie music is my thing, but those two bands sounded very professional. Blues was represented by Hannah & The Junk Funk and Hotfudge (both of whom were impressive and Hotfudge in particular, gave proceedings a breath of fresh air). Heavier rock made an appearance in the form of The Sounds And Siren who finished third overall and were the band I tipped to win the competition having seen them before.

The Frizz, from Joseph Rowntree had the best support in the crowd. There was a large roar and screams when they were introduced and having headlined Fibbers, I was greatly anticipating their performance. The crowd were off their seats and loved their version of   'Learn To Fly' by the Foo Fighters and their own song 'Predictable'. However for me, it was an anticlimax after all the euphoria. The only band really to make the audience sing along and used crowd interaction intelligently were The Gilligans which I feel may have had some sway on the judges as they were given the top award after performing 'Story of My Life' and a very upbeat rendition of 'Town Called Malice' by the Jam.

It was a promising display, and I do feel there are points that can be improved on for next year to make the event even better. A wider variety of music -   for example a few Indie bands along with Heavy Rock/Metal or Rhythm and Blues. As the night was dominated by Indie bands, and this may seem a little biased as it isn't my type of music, but more variety would be nice to see. Cover song selection could have been better. Four bands covered the Arctic Monkeys and Paris Commune and The Kicks even chose the same song - Fluorescent Adolescent - which I think affected Paris Commune's chances. Overall, though, it was a great night for York music even if the majority of the music wasn't my type. They should all be very proud as it takes real guts to perform in front of such a big crowd at such a young age and it's nice to see local music supported in this way.

words: alan brown, images: sophie asquith

5th INTERNATIONAL SWORD DANCING FESTIVAL, YORK - 23-26/05/08

Normally the home of tourists and tea-shops, enlivened by the regular crowd of buskers, this Bank Holiday weekend York took a decidedly darker turn and went all Wicker Man. With beheadings, ritual murder and a wolf on the loose - not to mention an arsenal of lethal-looking blades being wielded in the streets - it was enough to keep the Daily Mail in headlines for a year. Concerned citizens, however, could rest easy in their beds, as it was all part of the International Sword Spectacular, an irregularly convened celebration of sword dancing making its first, very welcome visit to York. With nearly fifty teams from the UK, Europe and the USA performing in a dozen spaces across the city, along with a gala finish in the Theatre Royal, the event certainly lived up to its 'spectacular' claims. By far the most frequently represented style was rapper, a fast, furious and athletic dance using the short 'rapper' swords, with every leap and somersault raising cheers from the gathered crowds, most of whom had probably never seen anything like this before. Newcastle Kingsmen showed why they're current world champions, but local team Black Swan Rapper and Nottingham's Stone Monkey Sword displayed the class that has seen them both hold that title in the past. Elsewhere, there were some fine longsword (the clue's in the name) sides, including the famous Goathland Plough Stots who, along with the other original teams from Flamborough, Grenoside, Handsworth and High Spen, offered a rare performance outside their traditional dancing sites. Perhaps the real treats, though, were the European teams, with particularly enthralling dances from Belgium: the hypnotically percussive drum and staves of St Sebastiaansgilde Westerlo; the intricate, bagpipe-accompanied figures of Lange Wapper Antwerp; and the ritual wolf-slaying and resurrection of Les Pas d'la Yau Quevaucamps. Add to this some cutlass-wielding Plymouth Morris Men, a fascinating jazz crossover from Orion Longsword (USA), a touch of Italian pole dancing (Maypole, that is), and the magnificent Coventry Mummers - they of the unfortunate beheading incident - and I think it will be a long time before York sees this kind of spectacle again.

words & image:   oz hardwick