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.