Kasabian @ Capital FM Arena [28/11/14]

As the 30 minute countdown reaches its last few seconds, the crowd are at fever pitch. Arguably one of the world’s best live bands, Kasabian, are about to flex their muscles on the first of their two-night residency at Capital FM Arena. Much has been made of their divisive latest album, but this is not a show to be missed.

The boys from Leicester jump out of the trap immediately with recent single Bumblebee – a maelstrom of tribal chanting and erratic guitar riffs. Other songs from new record 48:13 also go down a storm. Maiden single Eez-eh intimates a trippy Chemical Brothers vibe and sees the four-piece revisit an electronic dimension which turned so many heads on their eponymous debut album.

Treat follows suit, resplendent with a glorious breakdown which briefly slows the set’s pace down to a bubbling groove. All the while, enigmatic words like ‘cordial’ and ‘dhalsim’ are emblazoned on a gigantic pink backdrop behind the group. No-one knows what it means, but it’s provocative.

The group, fronted by the effervescent Tom Meighan, throttle through their set with a boisterous swagger. At times this may be confused with arrogance, but judging by the East Midlands crowd’s reaction to cuts like Shoot The Runner and Empire, who can blame them. The sharp-suited frontman has the Kasabian faithful hanging onto his every whim. Partner in crime, Sergio Pizzorno, is equally as alluring – even adhering to rock n’ roll’s cardinal rule of trashing his guitar before the show even hits full steam.

Most people are here for the hits, and there is little respite as the band trawl through an impressive back-catalogue – with both Underdog and Fire incurring mass sing-alongs. These beer-fuelled anthems, originally tailored for the Oasis-adoring nucleus, now stand tall as indie classics. Rounding the night off in style, the band introduce LSF with a euphoric rendition of Fatboy Slim’s Praise You – a highlight of the evening’s proceedings.

If anyone questioned Kasabian’s credentials as a live force before the show, the lads from Leicester have well and truly quashed any doubts with an explosive set to be reckoned with. In fact, they made it look eez-eh.

Chas & Dave and Status Quo @ Capital FM Arena [11/12/14]

“You’re in for a good night” professes Chas as he and cohort, Dave, swagger on stage in their sharpest clobber – pork pie hats n’ all.

This may be an arena gig, but the venerated duo do their best to transform the space into an intimate setting – playing in front of a modest black backdrop. There are no frills here and that makes it all the more genuine, as though this was just another knees-up in a dingy, working class saloon.

Their music is infectious from the get-go as the twosome riff off one another over boogie-woogie piano. Rabbit and Gertcha offer a pure rush of nostalgic rockney and if you strip back the geezer charm, there’s an abundance of artistry to their craft.

Most striking is their harmonies, particularly on Ain’t No Pleasing You – a tender ballad which deals with a bruised male ego.

As the set comes to a close, they are joined by Chas’ son on drums and urge the crowd to get on their dancing shoes for one last hurrah. Unfortunately, it’s a muted response from the Nottingham audience, with set-closing The Sideboard Song worthy of a far more rambunctious reception.

Fast forward to the main event and there is a noteworthy change in atmosphere – with the previously reluctant audience finding their voice as Status Quo make their grandiose entrance.

The five-piece kick things in motion with the stomping Caroline – a 70s rock n’ roll piledriver which sets the tone for what’s to come.

It’s not long before the rockers begin interacting with the arena audience, where affable frontman Francis Rossi makes droll remarks about their old age. However, as the band storm through their expansive back-catalogue, the veterans appear to be as vivacious as they were in their salad days.

The Quo acolytes, who have turned up in their droves, may also be of a senior age, but they match the group’s boundless energy – jumping off their seats for every sing-along moment.

Rossi continues to entertain the arena with amusing quips. The vocalist notes how the band seem to make an appearance in the city every year, but there are certainly no qualms from the crowd. “It’s like deja-vu,” he remarks.

Although they have been panned in the past for their ‘three chords equals a chart-topper’ paradigm, the mammoth hits speak for themselves. Songs like Down Down, In the Army Now and Whatever You Want remain as potent as ever for the iconic British band.

The Quo may be of retirement age, but there’s no doubt that there’s life in the old dog yet.

Same time next year? Yes please.

Circa Waves @ The Bodega [11/11/14]

A lot can change in a short space of time. When Circa Waves last played the Bodega just a few months back, the venue was half empty. Now the Liverpool-based band return to a sold-out crowd, with a triumphant set that stakes their claim as indie’s newest heroes.

The four-piece’s opening salvo is a blistering statement of intent as they tear through a raucous rendition of Young Chasers – a single which propelled them into the public consciousness in boisterous fashion.

Off the back of their latest single, So Long, Circa Waves have hit the road on an extensive UK tour. This comes after a summer of perfecting their live shows on the busy festival scene. This has clearly paid dividends as the band are now a genuine live force to be reckoned with, and their impeccable synergy throughout the set is testament to this.

The bulk of the group’s songs teem with the angst of young manhood, so it’s fitting that an ever-present mass of teenage fans brawl and mosh their way through every song at the head of the crowd, singing lyrics back word for word.

The Strokesian single Stuck In My Teeth is the night’s standout cut, with frontman Kieran Shudall professing: “I’m a little too young with not enough time.” Elsewhere, the track’s B-side, 100 Strangers, elicits the great Johnny Marr with its delicious earworm of an opening riff.

Get Away concludes a brief, yet rip-roaring, set. It’s a fitting finale which induces a mass sing-a-long and a stirring climax – rendering the venue into a cacophony of swelling feedback.

With the Bodega well and truly conquered and a debut album set for release early next year, it’s fairly evident that Circa Waves are destined for much higher climes.

Circa Waves interview

“Our shows are meant to be as raucous and lively as possible. We want you to come away from one of our gigs sweaty and exhausted, but also on a real buzz.”

Clearly, Circa Waves want nothing more than to have a good time – and that’s just what the indie’s newest darlings have planned for their gig at the Bodega.

For drummer Sian Plummer, the occasion will be all the more special as he returns to his hometown on Monday for what is set to be an unforgettable show.

“I love coming back to Nottingham because I’ve got friends and family there. I’m always running about the place seeing how much it’s changed that I feel a bit like a foreigner when I return.”

Plummer grew up in Nottingham until the age of 20, and as a self-confessed “metal-head”, he fondly remembers the city’s music scene as an adolescent.

“I was always down at Rock City or someplace like The Old Angel. I remember some of the hardcore kids used to be posy, but I just always wanted to get in the moshpit,” he enthuses.

Circa Waves, who are still in the fledgling stages of what has been an explosive start to their career, enjoyed an extensive run across the global festival circuit this summer.

The drummer describes the experience as an invaluable learning curve for the four-piece.

“The festival scene is like a boot camp for bands where you play show after show to different audiences in all over the world.

“It’s a sharp introduction into what being a band is like, especially as we were a bit lower down on the bill at festivals and the changeover between acts is really quick.”

So what were their highlights of a jam-packed summer?

“Obviously, Glastonbury is a big one. We did Summer Sonic in Japan as well and it was incredible because we got a massive turnout for it.

“We got one of the biggest crowds of the weekend – about 12,000 people, which is pretty mental.”

While spending the summer plying their trade around the world, the band have noted a vast improvement in their live shows.

Having added a new-founded sharpness to an already frenetic live show, the boys are primed for their extensive tour of the UK this month.

The tour comes off the back of the release of their latest single, So Long – a supremely crafted indie hit which sets a benchmark for the coming wave of alternative bands.

With a host of singles going down a storm, fans are now tentatively awaiting the release of the band’s debut album.

An excited Plummer reveals: “It’s pretty much recorded and in the can now, so we’re hoping to have that out early next year, around March.”

Thanks to the production duties of Dan Grech (The Vaccines, Hurts), Plummer found the recording process to be a wholly rewarding affair – with the band collectively firing on all cylinders.

Despite still being newcomers to the scene, the championing from media trendsetters like Zane Lowe and NME has allowed Circa Waves to strut into the public consciousness in boisterous fashion.

But did the band find it hard dealing with the pressure that comes with a rising popularity?

“It was a bit of a shock at first, but you never really have that much time to think about what you’re doing – you just have to do it.”

Thrust under the unforgiving glare of the music industry, it’s a path the band have careered effortlessly thus far.

Put simply, Circa Waves have taken it all in their stride – and that trend looks set to continue as they set their sights on Nottingham.

Doc Brown interview

You wouldn't blame anyone for being a little big-headed if they could act, rap and make people laugh but Doc Brown is determined to keep level-headed about his success.

"After every single show I stay behind with the fans and chat to everybody in the audience because I want to know how real people feel," says the 37-year-old Londoner.

"I consider myself one of their number," he adds.

"The first time I got on stage was when I was 30 years old so I had a life of anonymity before that."

After a year-long hiatus from stand-up, Doc Brown will return to Nottingham's Glee Club next month with his brand new show The Weird Way Round.

As an up-and-coming rapper he would regularly perform his trademark acerbic rhymes at venues like Rock City, but the performer, born Ben Bailey Smith, explains he has a special affinity with the Glee Club.

"It's got that party vibe, but at the same time there's always a discerning comedy crowd, so it's a perfect mix for me: smart people who like to get drunk, as opposed to stupid people who like to get drunk."

Doc finds it difficult to describe his stand-up style, but says ultimately he's a storyteller who likes to talk from an honest and personal place. This is because he finds true stories tend to be the funniest.

"It's like I'm the last one to arrive in the pub. Everyone's already there and I sit down and go: 'listen to what just happened to me'."

The comedian has always been issue-led and The Weird Way Round delves deeper into recurring themes such as racism and sexism.

"Having two daughters, I'm always thinking a little bit more about the place of women in modern society," he says.

"I find a lot of different angles on it, but they can still be consistently funny."

Doc's amalgamation of comedy and hip-hop has earned him a reputation as a unique entertainer.

"Hip-hop is a street culture – it's rugged, raw and DIY," he says.

"Stand-up has a lot of similarities with that. It has the same kind of brashness that hip-hop encourages."

He notes that his penchant for all things funny came thanks to his comedy-buff father who he'd sit down with to watch Porridge, Monty Python and the like.

Despite his love for these shows, and comedic stalwarts such as Harold Lloyd and The Marx Brothers, Doc claims his inspirations as a performer are much closer to home.

"I'm just constantly influenced by my friends and family. I like keeping my ear to the ground even though I exist in a showbiz world," he says.

"I don't hang out with people like James Corden – I hang out with all the same people as before."

Many will recognise Doc from his work with Ricky Gervais' character David Brent on Equality Street, the hit charity single which went viral.

Doc has had a very healthy working relationship with Gervais since his early days as a fledgling comedian and describes their collaborative work as a constant learning experience.

"He really doesn't have any fear when it comes to his ideas – he just goes for it," he says.

"That kind of bravery has created some of the best comedy work over the past ten years or so and it's awesome to watch."

Even though plenty of fans turn up to see the comedian perform the Comic Relief song, he insists it's not going to happen.

"A joke is rarely funny twice," he insists.

"My fan-base wants to see new material and want the night to feel special and unique – which is obviously what I'm going to provide in Nottingham."

Outside of the stand-up world, Doc recently landed one of the biggest roles of his career as leading character DS Hawkins on ITV's Law And Order: UK – a childhood dream come true for the multi-talented entertainer who used to make guns out of sticks as a child and pretend to solve crimes.

He has also been busy working with Paul Whitehouse on upcoming comic-drama Nurse, but there is another exciting project on the cards which is a true departure for the performer.

Adding another string to his bow of many talents, Doc has just signed a two-book deal with one of the UK's biggest publisher of children's books.

It puts him in the same world as his award-winning novelist sister Zadie Smith.

"She's always telling me about the publishing world and how difficult it is for writers, but mine's a totally different side of the publishing world," he says.

"The children's picture-book industry is thriving, while adult book sales are dwindling.

"Kindle and tablets have undercut everybody and it's really hard for new authors to make it."

Does he see his future as a writer?

"My immediate future is definitely in acting," says Doc.

"After this tour I'll take another sabbatical from comedy because the more intense the work gets, the less time I have to drop everything and write an hour of stand-up.

"I'm gonna do one thing at a time from now on."

John Wilson interview

You're now an annual highlight of the BBC Proms, which you played recently. How was the experience this year?
It's always the highlight of the year for us, really. We've played the Proms for the last five years on the trot and each year the audience gets more enthusiastic. The only problem is that this increases the pressure each year as the audience has higher expectations.

Is touring something you enjoy?
I love the tours because we get a chance to play in every city in the country and we get to meet people that can't come to London. Also, as an orchestra, we get to play so many nights in a row so it gives us a chance to get really into the music. It's a great atmosphere on the road – like a party.

Do you have any difficulties travelling around with such a big orchestra?
I don't have to deal with any of that – it's all up to the orchestra manager. The logistics of it are a nightmare, though. It takes a whole year to organise. Luckily, everyone in the orchestra is a pro – they all know what they're doing. We've only had one car crash into a ditch.

You're playing the Royal Concert Hall in Nottingham. Do you have any fond memories of the city?
The Concert Hall is generally reckoned by the orchestra as the best in the country. We had a survey between us and we all agreed it was the best. It's an amazing venue with an amazing sound. I don't know if the people of Nottingham appreciate that.

This tour coincides with the new album, Cole Porter In Hollywood. What is it that you appreciate so much about his music?
There are a handful of songwriters in the first half of the 20th century who wrote nearly all of the most important music: Cole Porter, Richard Rodgers and George Gershwin, just to name a few. I've always loved Porter's music because he's a very stylish, classy composer and he wrote all of his own words. Ahead of making this record and doing the tour, I had to look much deeper into his repertoire – not just at the songs I knew, but those that I didn't. His level of invention and craftsmanship is so high right through his entire output. So on this CD you've got the songs that everyone knows, but also stuff that's been neglected that shouldn't have been.

How important do you think these classic songs are to the Hollywood films themselves?
There would be gaping holes and no colour in the films without these songs. I think the songs are the most important elements in the films, especially the earlier films which are a load of songs strung together with witless plots.

How special was it to record the new album at Abbey Road?
I have to admit to taking it for granted because all of our records have been recorded in that studio and I've been working at Abbey Road for 20 years now. We work there because it's the best room in the world to record that sort of music. It's got perfect acoustics, it's not too big, we're in Studio Two where The Beatles recorded – it's incredible. I've even recorded there with Paul McCartney for the 20th anniversary of John Lennon's death, so I've got fairly strong feelings about that particular room.

Do you have a favourite track off the new album?
I really like the Overture from High Society because it's a bit of a workout for the band and I think in that one piece it captures the sound of that whole lost world.

On this album you've also worked with a number of vocalists. Does it become a different challenge once you incorporate a singer?
Yeah, you've got to be sympathetic to the human voice and you have to make sure they get the support they need.

You've already restored a lot of classic film songs for your orchestra. Are there any in the future you'd like to tackle?
There are so many. Every year seems to bring up a new project. Next year I'm going to start working on George Gershwin and all the stuff he did. There are more movies and restoration work than I could ever hope to do.

Was there a particular moment in your life which sparked this love for Hollywood film songs?
I loved all music from a very early age and I've never made a difference between a Beethoven symphony and a Fred Astaire song. So if it was good, I'd respond to it.

The Orwells @ Rescue Rooms [04/06/14]

If you can hear a loud crashing in the distance, it’s probably The Orwells. Fresh out of high school, the Chicago five-piece, ready to invade British soil, are hell bent on having a good time – and necking as much booze as possible in the process.

Carrying a reputation as one of the most frenetic live acts to hit the scene and on the back of their critically recognised Disgraceland EP, so much is expected from the band that it’s easy to forget they are merely a group of teenage, ragtag misfits.

Live tracks may come up short compared to their studio counterparts, but frontman Mario Cuomo’s mesmerising stage presence more than makes up for this. The singer constantly sizes up the crowd, lewdly waltzing around the stage.

There’s a dark, salacious undercurrent through the bulk of their output. Who Needs You has the riled lead singer spewing anti-American propaganda and shooting down “dear old Uncle Sam” while inciting unbridled chaos in the Rescue Rooms pit.

Songs like the provocative Dirty Sheets and Southern Comfort lyrically showcase a band embroiled in their rock ‘n’ roll lifestyle. The latter sounds like a brawl between The Strokes and The Ramones. “Give me a smile and then take off your pants” howls a hedonistic Cuomo as he drenches the crowd with beer.

The frontman slithers between his bandmates like Iggy Pop on a shot of adrenalin. This is extra fitting when the group finish their set with a rousing take of I Wanna Be Your Dog.

With a little refinery to their live show, The Orwells can be world beaters. In true punk fashion, Cuomo and co stick two fingers up to conformity, and providing they don’t burn out first, they are in for one hell of a ride.


Read more: http://www.nottinghampost.com/Review-Orwells-Rescue-Rooms/story-21192975-detail/story.html#ixzz33mQMW2IL

Albert Hammond Jr @ The Bodega [12/05/14]

You’d think taking a break from one of the most iconic indie bands in the world and strutting your stuff on the solo circuit is no easy feat. Tell that to The Strokes’ very own Albert Hammond Jr; who takes it all in his stride at a sold-out Bodega.

Dwarfing the stage with his five-piece band, Hammond Jr welcomes the Nottingham crowd with an infectious grin. This may well be the smallest venue he’s ever played, but he’s certainly ready to blow the roof off. The frontman and his leather-clad cohorts waste no time tearing through a set showcasing a body of fine solo work – crested by his latest EP, the superb AHJ.

It comes as a no surprise that the bulk of Hammond Jr’s hits have a familiar Strokes vibe to them. As the saying goes, ‘if it ain’t broke, don’t fix it’. 101 is a prime example of this – layering intricate riffs over raw vocals to orchestral effect. What does come as a pleasant shock, however, is the frontman’s commanding stage presence. Seemingly happy to shun the spotlight with his parent band, Hammond Jr is given a new lease of life when taking up the protagonist’s role.

GfC is an angst-ridden track, with Hammond Jr howling to a loved one over a searing guitar line. The band, never missing a beat, could be fittingly described as a hybrid of Thin Lizzy-esque guitar harmonies with immediate, thrashing garage rock.

Always the crowd-pleaser, Hammond Jr returns from a lengthy pit-stop to play an impromptu encore – featuring the night’s most tender moment in the form of Hard to Live in the City. Before saying a final goodbye to Nottingham, the band deliver an anarchic, feedback-heavy rendition of Rocket.

He may have had the world in the palm of his hand with The Strokes, but it seems like Albert Hammond Jr is content to go it alone.



Read more: http://www.nottinghampost.com/Review-Albert-Hammond-Jr-Bodega/story-21088693-detail/story.html#ixzz33ft5evfw

We Are Scientists Interview

Indie veterans We Are Scientists, comprising of Chris Cain, Keith Murray and Andy Burrows, are currently on a tour of the UK in support of their fourth studio album, TV En Francais. We caught up with bassist, Chris Cain, before their headline show at Rock City.

Are you excited to be in Nottingham?

Thrilled! I actually really do like Nottingham. We’ve had a few days off here in the past so we’ve gotten to know it a little bit. There are a lot of little spots that I’m into. I don’t know what it’s called, but there’s a little cafe on some church grounds that has a big mirrored disc sculpture – it’s awesome....

Is it the Playhouse?

Yeah, that’s it! Love that little spot – it’s nice for a quiet little coffee, or a brew. I also love your Cineworld.

How’s the tour gone so far?

Really, really well. I think this is our seventh show, so it’s still in the honeymoon period and we’re all still relatively healthy and have energy. It’s exciting to get back in front of people and play a proper, sizeable UK tour.

We love you here in the UK, but what’s your favourite thing about it?

A curry is a very high point for us. We don’t have much good Indian food back home, so British Indian food is a big, shining light in our sky when we’re here. Really, it’s the curry that differentiates the United States and Britain for me. Otherwise, they’re pretty much the same place.

What’s your curry of choice then?

I love very hot food, so I like a vindaloo or something similar. But if there’s anything on the menu I haven’t had before, I’ll definitely try it.

The new record’s just been released. Are you happy to finally have it out?

Yeah, it’s a great feeling. As soon as we can get the crowd to receive these songs as passionately as our other stuff, it will be very exciting for us.

Were there any particular influences or themes on the new album?

It’s not really our way to set out with a theme in mind. To some extent we tried that and failed with this record. We wrote nearly half an album that we wanted to sound really 90s, Lemonheads-y, but had to scrap it because it just didn’t feel like a We Are Scientists record. Lyrically, there’s been more of a direction with the album as it specifically deals with a relationship that Keith was in during its very final moments. The relationship ended shortly after we finished recording, but it was very much in turmoil while he was writing the lyrics. You get a clear sense about it with these songs. Previous albums’ lyrics have been more of a hotchpotch – one idea here, another one there.

What music have you been listening to recently?

Huge fan of the dudes supporting us: Superfood. I’m also a big fan of the band supporting us in Europe and the States: Paws, from Glasgow. There’s a Dublin called September Girls who are also really good. They play a kind of reverb, surf guitar that’s popular these days, but do it better than most.

After the UK, you’ll be embarking on a world tour. Are there any places you’re looking forward to going to?

We’re excited to play in Perth, Australia for the first time. It’s on the far Western side and we’ve never done anything but the East-coast there. We’re also playing a couple of spots in Spain that we’ve never visited. One of those is Bilbao. We love the country and I speak a bit of Spanish, so it will be really fun for me. We’re always trying to get more shows in Spain, but rock music doesn’t really sell a lot of albums over there. It’s a tough country to tackle, so you have to find a live promoter who is really interested in trying to set you up there.

Touring seems pretty non-stop. What do you do to relax and stop yourself from going crazy?

We like to watch a lot of shitty movies on our bus. If there’s a theme to our film festival, it’s low quality. We’ve been on a hunt for a Bad Boys 2 DVD and finally scored it today. Last night we watched Stealth. It features Josh Lucas operating at roughly standard for his career, Jamie Foxx seriously slumming it and Jessica Biel roughly where she should be. It’s pretty awesome.

You and Keith have an awesome relationship. What are your key tips for a blossoming bromance?

That’s a good question – never got that before. For me, I think it’s critical that you make a person laugh. It’s probably as important in a straightforward romance as it is a bromance. Laughter is a fantastic inducer of friendship. I would say it’s the foundation of mine and Keith’s relationship – far more so than music actually. We kinda don’t listen to the same music and don’t often have the same opinion of bands, whereas we’re pretty identical when it comes to what we think is funny. We used to go see a lot of stand-up comedy together.

Finally, how would you best describe your live show?

Our live show is high energy. It’s probably distinctive for how much we talk between songs. We do tend to blather away, often to the frustration of some portion of the audience. It’s hard to tell how many of them are quietly suffering. There are always one or two dudes who will shout for us to shut the fuck up and keep playing, but I take a lot of joy in thwarting that request!

I think we air more on the side of being energetic than being precise as live musicians. If we were to stand still and stare down at the ground, we could probably play our songs exactly like they are on the album, but we definitely prefer to jump around, fall over and make a lot of mistakes. That’s the kind of show I’d prefer to see as well.

Dan Le Sac vs Scroobius Pip @ Rescue Rooms [03/05/14]

As Scroobius Pip crowd-surfs from Rescue Rooms’ stage to the bar mid-song, knocking back a shot in the process, it will dawn on you that this is no ordinary gig. No, this is way more fun.

In the sold-out sweatbox, Pip is joined by his rhythmical cohort, Dan Le Sac. Their chemistry is beguiling and exemplary of a healthy band relationship.

Between songs, the pair natter with the audience – hooking them in with droll anecdotes and a palpable sense of charisma. This is no different when it comes to Pip’s lyricism; with the venue’s inhabitants hanging on to the bearded wordsmith’s every syllable.

It’s testament to an artist when their repertoire can evoke so many juxtaposing moods – something the duo do best. Stiff Upper Lip, a cut from their latest LP, Repent Replenish Repeat, is a visceral protest song reflecting the current Twitter generation. Spitting demonically over fractured beats, Pip is a man possessed.

Songs of a similar ilk hit like a firm uppercut, whilst also wrestling taboos such as drug use and suicide. Terminal, a harrowing piece of spoken word anchored by a pulsating track, is one of the night’s highlights.

Cult fan-favourite, Thou Shalt Always Kill, reveals the pair’s vivacious side. The duo’s electro take on the Ten Commandments is both amusing and infectious. Dan and Pip also maintain a boundless energy throughout – defying their gruelling tour schedule. In fact, they are the night’s pacemakers, slowly cranking the rowdiness up until the gig’s climax.

As the show’s final note echoes around the venue, the crowd are eager for more, but Dan Le Sac and Scroobius Pip have done more than enough.


Read more: http://www.nottinghampost.com/Review-Dan-Le-Sac-vs-Scroobius-Pip-Rescue-Rooms/story-21055209-detail/story.html#ixzz311qKn0Qj

Live Review: Band of Skulls @ Rock City [29/03/14]

Band Of Skulls are a no-nonsense kind of group. While many bands stutter – relying on flashy lights and theatrics – the Southampton trio thrive off nothing more than snarling guitars and explosive, killer riffs.

This is the band’s last date of their current tour before the imminent release of third album, Himalayan. New material like Asleep At The Wheel, although still largely foreign to the Rock City crowd, maintains an instantly familiar appeal synonymous with the band. This is down to their keen ear for an impeccable hook.

Adopting a brand of provocative blues rock inspired by the likes of the White Stripes and the Black Keys, there is a confident, arena-aspiring air to the band.

Guitarist and bassist, Russell Marsden and Emma Richardson, deliver delicious vocal harmonies entwined with piercing melodies on numbers like Bruises and I Know What I Am.

The band’s sucker punch of an encore is visceral, culminating with the euphoric Death By Diamonds And Pearls. At this point, the venue becomes a cesspool of gnarling feedback, orchestrated by Marsden’s exquisite guitar playing.

They may not be anything out of the ordinary, but Band Of Skulls prove you don’t need gimmicks when you’ve got good old fashioned rock and roll.


Read more: http://www.nottinghampost.com/Review-Band-Skulls-Rock-City/story-20881830-detail/story.html#ixzz2xTMN4Pf0

Live Review: Dan Croll @ Bodega [24/03/14]

At the tender age of 22, Dan Croll has already been tipped for great things – even receiving a nod of approval by Paul McCartney whilst mastering his trade at Liverpool Institute of Performing Arts. Last night, at a rammed Bodega, the Scouse musician proved all his critics right.

Following the release of debut album Sweet Disarray, this is Croll’s first ever headline gig in Nottingham. The bespectacled singer, however, takes it all in his stride.

Croll’s exotic, feel-good vibe takes note from Vampire Weekend’s twitching guitar melodies, while maintaining an afrobeat splendour reminiscent of Paul Simon’s Graceland. Compliment Your Soul’s triumphant and orchestral chorus rings sweetly throughout the intimate venue, capable of lifting the limpest of spirits.

Although being master craftsman, a lot of credit must be given to Croll’s backing band. The four-piece provide textured melodies and spot-on harmonies to perfectly accompany the lead-singer’s swooning vocals.

Home, an inoffensive ode to family life, is the night’s best received cut and induces a sing-along from the otherwise reserved audience. The song’s twee lyrics, politely asking you to remove your shoes at his door, cuts close to forgettable, landfill indie-pop, but is saved by a warm, stirring finale.

The night’s most impressive moment comes in the form of the immense From Nowhere. Here, Croll fires on all cylinders – delivering his most accomplished songwriting and a dynamic, electronic edge.

He may not be the finished article just yet, but if Dan Croll continues riding this current wave of success, greatness will surely be within reach.

Read more: http://www.nottinghampost.com/Review-Dan-Croll-Bodega/story-20849038-detail/story.html#ixzz2xTKmB0bK

Live Review: Drake @ Capital FM Arena [16/03/14]

A curtain rises to reveal an innovative stage setup consisting of a sleek, galactic-inspired runway backed by ethereal, mesmeric imagery. Aubrey Graham, better known as larger than life superstar Drake, wants his show at the Capital FM Arena to be nothing but a spectacle.

The Toronto-born rapper ascends through a sheet of mist, accompanied by dazzling lights and pyrotechnics. Currently on a massive European tour in support of latest album, Nothing Was The Same, Drake is here to cement his status as the biggest name in hip-hop.

Although technically flawless, there is a jarring nature about the Canadian. Raw, bravado-fuelled tales of wealth and sexual conquests on tracks like The Motto are a million miles away from the introspective sincerity of Too Much – where Drake discusses family issues and personal anxiety.

The shift between themes may be bizarre, but the juxtaposition works – allowing Drake to trawl through his extensive back-catalogue.

Waltzing around the sparse stage donning a vest, the 27-year-old is on the charm offensive – regularly flirting with the Nottingham audience. The clichéd, “you’re the best crowd in the world,” is one of his many chat-up lines. The love-in can be overbearing at times, particularly when he takes to a platform hanging over the crowd, complimenting members of the audience.

Drake is really at his most impressive when the sole focus is on performance. Intimate, standout track, Hold On We’re Going Home, showcases a vocal prowess that can be easily forgotten nestled between mammoth beats and angry rapping.

Although disguised under conflicting styles, a hunger for greatness is the one constant theme in Drake’s work. Set-closer, Started From The Bottom, outlines the star’s explosive rise in the industry. The success is more than deserved. As shown tonight, Drake is a committed and hard-working entity, constantly propelling to newer heights.


Read more: http://www.nottinghampost.com/Review-Drake-Capital-FM-Arena/story-20819028-detail/story.html?mnb#ixzz2xTIrvVNP

Live Review: We Are Scientists @ Rock City [13/03/14]

Indie dancefloor classics, comedic quips and even a marriage proposal resulted in an unforgettable evening as Rock City welcomed We Are Scientists last night.

After opening with the brooding Return The Favor from their new record, TV En Francais, the American trio up the ante with a flurry of old favourites including After Hours and an infectious rendition of Nobody Move, Nobody Get Hurt.

Keith Murray and Chris Cain, the charismatic figureheads of the group, display and maintain an energy defying their strenuous touring schedule.

The metal-inspired Dumb Luck is testament to this – with both members frantically thrashing through the song in spectacular fashion.

Almost doubling as a comedy act, the pair take plenty of time between songs to interact with the audience, riffing on topics like Miley Cyrus and Robin Hood.

The New York-based band, evidently thrilled to be back in Nottingham, are a breath of fresh air amidst an industry brimming with detached, brooding frontmen.

Just before the set’s conclusion comes the night’s most unexpected highlight in the form of a marriage proposal, greeted with rapturous cheers.

Madness ensues when the band tie proceedings up with breakout hit, The Great Escape, and the venue’s hall is transported back to a raucous, indie disco circa 2005.

Their songs may not be compositional masterpieces and they’ll probably never sell out arenas, but We Are Scientists real charm lies with the fact they never take themselves too seriously.

For them, the night is all about pure, unadulterated fun – and that’s not rocket science.

http://www.nottinghampost.com/Review-Scientists-Rock-City/story-20810745-detail/story.html#ixzz2wDWAW97y

5 Of The Best Burgers In Nottingham

5. Chiquito

This Mexican chain creeped its way onto the list with its offering of tantalising double burgers. Served with their homemade coleslaw and a choice of skin-on-fries, a fresh house salad or Mexican spiced rice, the two-patty burger packs a mean punch. My weapon of choice, the BBQ pulled pork and cheese burger, came with a pile of delicious, tender pulled pork and enough prime beef to tame the biggest of appetites. Although pleasing on the eye, the wallet may not be as pleased as a hallowed double burger will set you back about £15. Even with 25% off for students, the price will be off-putting for many.

6/10 

4. TGI Friday’s

America is known for many things. Barack Obama, MTV and an unhealthy sense of patriotism to name a few. My favourite Yank import by far is the humble burger. Therefore, you’d expect TGI Friday’s, an American eatery, to come up trumps with their offerings. After coming across The Monster on the restaurant menu, I knew I had to have it. A 12oz burger heaped with crispy bacon, cheese and onion rings – what’s not to like?! When the burger arrived, engulfing the table, I knew it would be a hard feat to accomplish, but I fought through the meat sweats and came out victorious on the other side. Only problem was that the quantity outweighed the quality. The burger, for all its size and glory, was dense and hard to enjoy at times. The burger does make fourth place, however, for its amazing TGI dipping sauce.

6/10

3. Horn In Hand

The setting may be a dingy pub that plays some truly awful music at times, but the Horn In Hand’s Scream burger is the real deal. Probably my most consumed food since coming to Nottingham over a year ago, the burger contains a healthy amount of bacon, cheese and onion rings. The quality may not be of the highest order, but it always hits the spot. The Scream burger doesn’t try to be something it’s not – in fact, it laughs in the face of a gastro-burger. It’s cheap, hearty, cheerful and is always there for you. At £6.95 with a pint included, the world needs more burgers like the Scream.

7/10

2. Spanky Van Dykes

If you can wade past the hipster crowd, there is a mighty burger to be had at Spanky Van Dykes. The bar/restaurant doesn’t play it safe, either. Among the delights to be sampled are a halloumi and chorizo number, and even a peanut butter and fried egg burger! I, for one, wasn’t feeling too adventurous, so opted for the pulled pork and sweet chilli jam. There was a wait, but the effort that went into the burger’s creation was immediately noticeable in its appearance. As for the taste, the smoky pulled pork and the quality beef patty combined extremely well. If there was once small concern, the sweet chilli jam was hardly noticeable, but beggars can’t be choosers. What’s best about Spankys, though, is the 2-for-1 offer on a Tuesday. Take a mate and get stuck in.

8/10

1. Annie’s Burger Shack

This is it. The big one. It’s the daddy of all Nottingham burgers – none other than Annie’s Burger Shack. Recently relocated to a prime spot in Hockley, this is the place to be for all the self-confessed burger addicts. What first strikes you is the insane choice on offer at the restaurant, with around 30 different burger variations ranging from the weird to the wonderful. It has to be seen to be believed. I chose the Delta – an Adonis of a burger topped with cheese, onion rings and jalapeños. From first bite to last, it was a transcendent experience which I still struggle to put into words. What’s more, it will only set you back around £10 for probably the best burger you’ve ever had. Annie’s Burger Shack has changed the burger game. All praise Annie and her fine establishment.

10/10

Live Review: Bombay Bicycle Club @ Rock City [07/03/14]

Indie band Bombay Bicycle Club brought their chart-topping album, So Long See You Tomorrow, to a sold-out Rock City last week. Having previously played the venue in 2011, the London group marked a fine return to Nottingham with a set based heavily on their latest release.

New tracks such as Luna and Whenever, Wherever go down a storm with the excited audience as lead singer, Jack Steadman, is accompanied by a set of talented backing vocalists. Fan favourite, Always Like This, is also given an extra twist with the inclusion of an upbeat brass section.

Not famed for their outspoken side, the band do little in the way of crowd interaction, instead letting the music do much of the talking. Bombay, never afraid to reinvent their sound, constantly invigorate the audience with an array of styles – from the riff-heavy indie rock from their debut record to a new, world-music inspired sound. This is attributed to Steadman’s travels around the globe whilst touring and his growing affinity with Asia. Feel’s Indian-infused riff, well received by the packed Midlands crowd, is a far cry from anything done before by the young four-piece.

Fast rising up festival undercards and with an ever-growing fan base, Bombay Bicycle Club are ready to hit new heights with their fourth album – and at Rock City, they’ve come well equipped. They may have seen the world, but now they’re ready to take it over.

Three Songs Stuck In My Head

White Lies - Death

Epic. It’s a word that epitomises White Lies’ work since day one. Death, the first track off their 2009 debut album, is a storming anthem with a build-up capable of sweeping you off your feet. With a penchant for miserable themes, the band deal with the cheery issue of death with the help of some pounding guitars and synth.  It’s evident that from their very first steps, White Lies always envisaged the grandiose setting of a packed arena. Play very loudly.

Surfer Blood - Swim

If you didn’t know, the sun made a brief appearance this weekend. Many people took advantage of it, donning t-shirts and uploading their beer garden photos to Instagram. This song, however, did the trick for me. Surfer Blood’s feedback-drenched track brings up delightful connotations of a sun-tinged Californian beach and would get anyone excited for a glorious British summer. It might not be the most original of songs, but with a chorus as killer as it gets, just enjoy the surf.

Bombay Bicycle Club - Eyes Off You

Having already been one of my favourites from the latest album, So Long See You Tomorrow, the live rendition of this song knocked me for six at their Rock City gig last week. Kicking things off alone with a keyboard, lead singer Jack Steadman carries the song with a haunting falsetto. Dwelling on a lost love interest, the bittersweet track hits a glorious crescendo with all the instruments coming together perfectly. Masterful, both live and on record.

http://platform-online.net/2014/03/the-three-songs-stuck-in-my-head-alex-copley/