Festival coverage, including that from SXSW 2017, can be read through here.

SXSW 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2016 | 2015 | 2014 | 2013 | 2012 | Great Escape 2015 | 2013 | 2012

Don't forget to like There Goes the Fear on Facebook and follow us on Twitter!

Live: Ben Folds – Appollo Hammersmith

By on Wednesday, 24th January 2007 at 2:02 am

It seems that Ben Folds is a rare thing in the music industry – a genuinely talented musician who can hold an audience in his hand, and hasn’t been pushed up to the top on record company spin – he’s made it on his own. After an intriguing set by Clem Snide he leaps onto the stage dead on 9, and promptly plays his way through most of his solo stuff, with a few hidden gems thrown in for good measure.

Now, most of you probably won’t have heard of Ben as he’s quite underground here, so a quick bit of introduction. Nerdy white boy from North Carolina forms a band, the band breaks up, Ben goes does solo albums, becomes massive in the states and increasingly so elsewhere.

Clem Snide started off the evening as a very suitable support: one man and his guitar, and some rather humorous songs. More than capable at holding the audience’s attention, he seemed like a young Ben Folds. Whilst some may question his sanity after his passion filled acapella song at the end of his set, he proved himself to be a capable musician, doing both his own stuff and others (including a cover of Christina Aguilera’s “you’re Beautiful”). He could be one to watch coming up in coming years.

Then Ben made his entrance, with Europe’s “The Final Countdown” blasting over the PA. He then rattled his way through most of his well known songs, and a few special oldies for the diehard fans. “Rock this Bitch” came in quite early whilst Ben played with his kazoo and synth. For those who don’t know, “Rock This Bitch” is the customary part of the evening when Ben plays a song that he makes up on the spot, which is different virtually every show.

The musical maestro continued with a majority of newer songs from last August’s Supersunnyspeedgraphic, which whilst good live, don’t have the same energy as some of his earlier stuff in the Ben Folds Five.

Halfway through the set and his backing band takes a break, leaving Ben to do some slower numbers, including the tragic “Fred Jones Pt 2”, before being joined again by his full band for a triumphant romp through such classics as “Kate”, “Underground” and “One Angry Dwarf and 200 Solemn Faces”. Included was an extended version of his now famous “Bitches ain’t shit” – a cover of Dr. Dre’s rap classic, with much swearing and humour in a song that really shouldn’t be sung by a nerd like Ben Folds, but somehow he makes it his own. Quick on its heals was a cover of The Postal Service’s “Such Great Heights” with Ben using both the traditional piano and his new synth to great effect. He really seemed to be on a roll, with everything going for him – though this could be due to his own admission that “I’ve been sat on my ass for the last two months”

Then came the required sing along to “Army” – one of his biggest hits, Ben got the crowd to split into two to do the brass section of the song, which, with 5,500 people singing along to was quite something to behold. Throughout these closing songs he slowly built the songs up into bigger and bigger renditions, until the end of the set left us all gagging for more. However, as is always the way, the 11pm curfew rapidly swung round and it was time for Ben to leave, and for us to wait another year and a half for him to return to the UK.


1. Theme from Dr Pyser
2. Trusted
3. Gone
4. Synth improv including Freebird (and the theme from the waltons), leading into…
5. Rock This Bitch
6. All You Can Eat
7. Learn To Live With What You Are
8. Jesusland
9. Bastard
10. Still Fighting It
11. You To Thank
12. Losing Lisa
13. Landed
14. Bitches Ain’t Shit
15. Fred Jones Part 2 (Ben solo)
16. Evaporated (Ben solo)
17. Gracie (Ben solo)
18. The Last Polka (Ben solo)
19. Narcolepsy
20. The Ascent Of Stan
21. Army
22. Such Great Heights (Postal Service cover)
23. Kate
24. Underground
25. Zak and Sara
26. One Angry Dwarf


Klum – Victory all my life

By on Saturday, 30th December 2006 at 3:01 pm

Klum’s debut album “Victory all my life” sees the LA five piece take a variety of musical styles and re-invent them as their own. At times they could be compared to Radiohead, at others they’re as melodic as Sigur Ros and others as chaotically organised as Arcade Fire and Guillemots, whilst never treading on the toes of the aforementioned artists. However there is one thing we will all agree on: you’ll either love or despise their debut.

Album opener, “Focus”, seems to be lacking in much focus, providing quite a good idea of whats to come throughout the album, but tries to be many things at once it seems. Whilst this is no bad thing, it does seem a bit of a mish mash of styles in one track. “Asleep at trial”, the second track of the album starts off with a voice akin to Thom Yorke’s, before descending into a mish-mash of sounds similar to an Arcade Fire live show

“Breathe Machine” is the perfect soundtrack to a good night’s dreaming: disembodied voices in the background, gentle, organ-like keys and the soothing vocals of Brock Flores. Slowly “I can’t dance” fades in, and the dream continues, floating over epic sounds that are akin to early Radiohead.

“From the door” sounds like a chilled out attempt at cock-rock, “That’s not really my car, but I look good in it and that could take me far” says Brock, and you can’t help but feel that he actually means it, before everyone starts to overlap each other with drums and electric guitars chaotically mixed: but just before it becomes unlistenable they pull it back round, suddenly becoming very tight and together.

Perhaps one of the most vibrant tracks of the album, “I sing the song wrong” is full of hidden little sounds, from the child-like keys at the start, to the percussion throughout, and bird-like guitars and weird sounds at the end, its songs like this that show what Klum could be in a few albums time.

Closer “Seaslow” starts off quite similar to Sigur Ros, but soon we realise that its not quite as good, and the album could probably have managed without it: a long string of moaning before the obligatory loud ending.

So all in all a bit of a mixed bag from this LA band. They could be ones to watch or check out in an album or two’s time, when they’ve perfected their sound a little bit more. At the moment they seem to be trying to be too much at once, and whilst they do most of it perfectly ably, I think they need to just focus on one style.


Live: Delays – Oxford’s Zodiac – 19th December 2006

By on Wednesday, 20th December 2006 at 7:13 pm

Along with the Christmas party, another British institution of late appears to be the trend of bands doing a special one-off Christmas show in their hometown. This is the case with Southampton’s Delays, who played Oxford’s tiny Zodiac on Tuesday ahead of their hometown gig at Southampton’s Guildhall on Wednesday.

Their epic, summery songs are the perfect antidote to the freezing temperatures outside, adding some warmth to the audience. After a short intense set by Oxford based Fell City Girl for support, Delays walked on stage and burst right into “Lost in a Melody”, an electronic tinged stomper that is equally at home in the fields of festivals and the caverns of clubs. With this, Aaron, Greg, Colin and Rowly ran headlong into about 20 songs of pure quality that could convert even the most hardened of sceptics.

“On” has reminded me of Hot Chip’s “Over and Over” for a while now, with its catchy repetitiveness, and rather nice use of the strobes in the tiny Zodiac made for an entrancing song. “Bedroom Scene” was a chance for three quarters of Delays to take a break, as they left Greg to do the gentle strum with a lone light and a mass sing-along that didn’t quite work. The rest of Delays returned for new song “Girls on Fire”, which is tipped to be on their new album that’s going to be out next Summer reportedly, and if all goes to plan should set the festival scene on fire.

They closed their main set with “Long Time Coming” from their debut “Faded Seaside Glamour”, and Greg’s masterful footwork and over-excitability clearly made several girls at the front’s day. This was the song that got everybody going, having shaken off the winter blues and finally embraced the warmth they were giving off to the crowd.

When they came back for an encore we got a special version of “White Christmas” with Greg solo on his guitar, which was sublime and made my evening. We then got treated to two of Delays best songs from their last album, “Hideaway” and “Valentine”, both pop-classics in the making, and both failed to make much entry into the public’s mind.

Sometimes bands just don’t make as much impact into the public’s consciousness as they should, and Delays appear to have this misfortune. However, whilst this is the case they’ll continue to play small shows of people “in the know”.


Live: Tom McRae and the Artistes of Hotel Cafe at the Islington Academy – 28th November 2006

By on Wednesday, 29th November 2006 at 1:53 pm

“Tonight is all about something that doesn’t happen enough these days – Musicians helping each other” announced Tom McRae last night as the Hotel Café tour rolled into London after a year long tour of the USA. The feeling was great: a series of artists who are all too small on their own to undertake a full UK tour, but altogether they have the ability to sell out a venue in days.

Taking a revue style to the evening, Tom opened proceedings at 8:30, and we then witnessed an amazing 2 hours and 40 minutes of non stop music. No lengthy change over’s with houselights up, we’re talking one person walks off as the next comes on, with different people joining in on different tracks when they felt the urge to, before “we start to bump each to each other, drop guitars, and generally run headlong into chaos until someone makes us leave the stage”.

First song, Hawaii and the sound goes halfway through. No problem: he just keeps on strumming and talks to the crowd, explaining the tour and how the evening is going to work. One more song and he’s off, to be replaced by Steve Reynolds, who has a voice that sounds like he’s lived in a musty back-street pub for most of his life. Two songs from Steve, and he’s quickly replaced by Joe Purdy, who has, quite frankly, legendary facial hair (which leads to a comment from Tom that he “shaves once a month and if Joe doesn’t for an hour he ends up like this….”). Joe Purdy managed to be a skilled guitarist and harmonica player, a genius if ever there was one. Next up was Cary Brothers, who was one of the main reasons I had been to see the evening: his two songs “Ride” and “Blue Eyes” are some of the best around. He played “Ride” first then “Honestly”, both from his forthcoming album next year.

Then we had a very nice surprise: Aqualung. In the spirit of the real Hotel Café in LA, bands are quite welcome to turn up and play a few songs, or just sit around and get trashed with the other artists. Aqualung came and played a new song and then “Brighter than Sunshine” – just fab, and they stuck around to play keys on “Blue Eyes” later in the evening.

After this point things got a bit blurry: the artists came back on, joined each other, did different songs, until about 10:50 when Tom came back, did “Silent Boulevard”, “Boy with the Bubblegum” and “My Vampire Heart”. By this point everyone was in very high spirits, and things were getting a bit more ragged, but still very coherent, and had everyone in the crowd in exceptionally high spirits not seen since the Pipettes swept through the capital.

All in all an excellent evening of entertainment, well worth the money: not many bands this year put on 2 hours 40 minutes of non stop music: they’re playing at Kings College Student Union next week, so go and see Tom and the artistes of the Hotel Café: it’s well worth the money, and you will have one of the best evenings of the year.


Live: Thirteen Senses – Luminaire 13th November 2006

By on Tuesday, 14th November 2006 at 7:29 pm

Monday night saw Thirteen Senses play the second of their three dates at The Luminaire in Kilburn, and were on top form ahead of their exciting 2007 plans.

Opening up were two fifths of Newsum Turn, who quite simply are ones to watch in 2007. Imagine a bigger Coldplay with more layers and a cheeky smile and you’ve got Newsum. If they’re not big in coming months, things aren’t right in this world. From their opening “Take a Bow” to their closer of “Home” they just blew everyone away – they were just as good as Thirteen Senses, and could have played more than their six songs for people and we’d still have enjoyed.

9:30 rolled round and Thirteen Senses came on, launching straight into “Contact”, and moving through their set at a decent pace. The band filled the small Luminaire with sound, making everyone feel like they’re down the front, and a real family feeling. Their new songs feel like they could make everyone at Wembley feel cosy and involved, and are truly epic. “Spirals” was a masterpiece, as was their forthcoming single “All the Love In Your Hands”.

Towards the end of the set they played “History” from their debut album, which, having not heard it before live, was just pure bliss. Angelic vocals, amazing guitars and keys, collectively combined for the penultimate song. The closing song of the set was new one “Ones and Zeros”, another anthemic song from the four-piece from Cornwall.

Overall Thirteen Senses seem to be on top of their game at the moment, and look sure to storm the UK next year with the absence of Keane and Coldplay et al releasing albums, so watch out for these boys storming the album charts soon!

Thru The Glass
Follow Me
Call Someone
Do No Wrong
Under The Sun
A Lot of Silence Here
Into The Fire
All The Love In Your Hands
Final Call
Ones and Zeroes


Scissor Sisters – Ta-Dah

By on Friday, 10th November 2006 at 2:31 pm

Quite possibly New York’s campest band, the Scissor Sisters have returned with a triumphant second album that is almost as enjoyable as their debut spectacular. None of the traditional pitfalls of having a second album are evident, even though the band went through a tough time with two close friends passing away during the recording of it. This is reflected in some of the downbeat songs, however the album is still a masterpiece of camp party anthems.

Opening up with their first UK number 1, “I don’t feel like Dancin'”, the album gets off to an incredibly strong start, with a catchy disco strut and a distinctly psychedelic feel that is replicated in the video. The song was co-written with Elton John, one of their many star-friends, and his influence is very obvious throughout both this and the other track he co-wrote, “Intermission”.

“She’s My Man”, the second track of the album is another disco stomper, perfect for a satirical Halloween or a debauched night out on the town: it would have been perfect for the zombie killing scene which uses “Don’t stop me now” in “Shaun of the Dead”. “She’s My Man” then moves into “I Can’t Decide”, a more downbeat song, quite a British sounding song, reminiscent of 1920’s songs played on the pier on the beach (although a somewhat debauched version!)

“Lights” reminds us of the Beegees “Stayin’ alive”, with a great disco-strut that would challenge the Begees in a dance-off. Fifth track, “Land of a thousand words” is reminiscent of “Mary” from the first album, and is set to be their second single from the album. It is a bit more epic than “Mary” was, with a bigger crescendo, and is one of the standout tracks of the album (however, at this point of the collection every track is a stand-out one). This is closely followed by “Intermission”, a complete change in style for the Sisters. Most reviewers have slated it, but I love it: it’s simple, colourful, reminiscent of “The Wizard of Oz”, and a very welcome departure from the normal.

“Kiss You Off” is the last of the “singles” quality material on the album, with a distinctive argumentative / two sided feel to it, akin to “Filthy / Gorgeous” from the first album, with a slightly angry feel to it, but still a great song for it: live it’s great, with Ana giving it the full strength of her voice.

“Paul McCartney” is a great song, instantly danceable to, with a distinctive urgency that means you can’t stay still whilst listening to it. Pure genius, mixed in with Jakes and Ana’s banter in the middle 8. “The other side” sees the scissors go back to pure mushroom induced psychcadelia, slow, and the layers of Del’s guitar shine through, adding extra depth to the swirling nature of the layers.

“Might tell you Tonight” has a feel similar to “Intermission”, and is one of the weakest tracks of the album, being a sort of “Scissor Sisters” by numbers. Final track of the album, “Everybody wants the same thing” was debuted at London’s Live8 gig last summer and is a typical Scissor Sisters track: memorable, hummable, camp, and genius.

Overall their second album is just as strong as their debut album, if not stronger. More consistent in quality, and a great one for warming up for a night out, this album only shows off the growth from the Sisters, and if they continue like this they’ll be filling mega-stadiums weekly in a few albums time.

Page 1,694 of 1,697« First...1020...1,6921,6931,6941,6951,6961,697

About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF is edited by Mary Chang, who is based in Washington, DC. She is joined by writers in England, America and Ireland. It began as a UK music blog by Phil Singer in 2005.

All MP3s are posted with the permission of the artists or their representatives and are for sampling only. Like the music? Buy it. If you want a track removed, email us and we'll sort it ASAP.

E-mail us  |  RSS Feed   RSS Feed  

Learn More About Us