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American folk rocker Nathaniel Rateliff is back with a new band and a new eponymously titled album ‘Nathaniel Rateliff and the Night Sweats’. Though the album isn’t scheduled for release until August, Rateliff and the band have already garnered rave reviews for the new material at their recent live shows, including appearances at Latitude and the Newport Folk Festival.
The album’s first single ‘Look It Here’ has an immediately uptempo sound, in stark contrast to Rateliff’s introspective ‘Closer’ EP from last winter and the predominantly dark undertones of his previous solo LP ‘Falling Faster Than You Can Run’. The track opens in a surprisingly jubilant fashion, with a full complement of horns and pounding drums behind Rateliff’s soulful vocal line “look it here baby, I’m coming home, on my knees, begging please”. Earnest and straightforward, the song builds to a passionate plea in the bridge that takes full advantage of the raw emotionality in Rateliff’s rough-hewn vocal delivery.
Both ‘Look It Here’ and the earlier teaser for album track ‘Howling at Nothing’ indicate a move toward a warm r&b soul flavour that suits Rateliff’s singing voice perfectly. The rich tapestry of sound contributed by the Night Sweats is a toe-tapping, hip-swaying change of pace that will leave both longtime Rateliff fans and new listeners begging for more.
‘Nathaniel Rateliff and the Night Sweats’ the album is due for release on the 28th of August via Nashville record label Stax and Caroline International. The new single ‘Look It Here’ will be released on the 21st of August, but if instant gratification is what you need, you can stream it now below.
Nathaniel Rateliff and the Night Sweats will be on tour in the UK in September and October of this year; you can find all the details here. For a look back at previous TGTF coverage of Nathaniel Rateliff, head right this way.
By Mary Chang
on Wednesday, 29th July 2015 at 6:00 pm
It’s been a bit since we heard from Bromley’s Van Susans – their debut album ‘Paused in the Moment’ was released in 2012 – but they’ve shared their newest single with me, and I’m pleased to announce we’ve been given the exclusive premiere for its accompanying promo video. The words of the title, ‘Lipstick Teeth’, conjures up images of nights out, when all caution has been thrown to the wind, when unkempt makeup applied to one’s lips goes…erm…awry.
In Van Susans’ story, what started as a one-night stand with an irresistible vixen in a leather jacket has turned into a relationship that frontman Olly Andrews questions when he goes beyond the surface, “between the pet names and the sex”, and he realises discovery what was beyond the superficial wasn’t so great after all. A sign that Van Susans are growing up? Perhaps. Have a watch of the video for ‘Lipstick Teeth’. The single can be pre-ordered now; its release will be in September.
By Mary Chang
on Wednesday, 29th July 2015 at 4:00 pm
It seems to be the month for reworkings. Following on from Matthew E. White‘s redone ‘Visions’ that Carrie wrote about on Monday, today we have Gaz Coombes having a go of it.
He’s reworked and extended the title track from him album released earlier this year and called the effort ‘Matador (Da Capo)’. It features on the new ‘Matador (Da Capo)’ EP, which will be released on the 18th of September on Hot Fruit Recordings / Caroline International. Just for you collectors, the limited edition EP will be numbered and be on coloured 12″ heavyweight vinyl. The reworking will be accompanied by a demo of the track, a new instrumental called ‘4 Track Loop’ and two live recordings of ‘Buffalo’ and ‘To the Wire’ (both from the album ‘Matador’) at Coombes’ recent show at Brighton Old Market.
Ahead of the EP’s release, you can settle in and watch Coombes performing the reworked ‘Matador (Da Capo)’ in the below live and tour video that he himself directed. Enjoy.
Canadian singer/songwriter City and Colour, known offstage by the name Dallas Green, has just announced details of a UK and Irish tour for the early part of next year. Green will release his fifth album under the City and Colour moniker, titled ‘If I Should Go Before You’, on the 9th of October on Dine Alone Records. You can watch the lyric video for the album’s first single ‘Woman’ just below the tour date listing.
Following on last year’s UK tour, which included a sold out show at London’s Hammersmith Apollo, City and Colour will end his February tour with back-to-back London dates. Tickets for the following shows will be available for general sale on this Friday, the 31st of July, at 9 AM.
Previous TGTF coverage of City and Colour can be found right back here.
Thursday February 18th 2016 – Brighton Dome
Friday February 19th 2016 – Cardiff Great Hall
Saturday February 20th 2016 – Manchester Albert Hall
Monday February 22nd 2016 – Dublin Olympia
Tuesday February 23rd 2016 – Belfast Mandela Hall
Wednesday February 24th 2016 – Glasgow Academy
Friday February 26th 2016 – London Troxy
Saturday February 27th 2016 – London Troxy
By Mary Chang
on Tuesday, 28th July 2015 at 6:00 pm
Young band Young Kato released their long-awaited debut album ‘Don’t Wait ‘Til Tomorrow’ back in May. If you haven’t picked it up now, I highly recommend getting it.
Now, one of the more upbeat, uplifting numbers on the LP has its own promo video. In ‘Runaway’, we turn to a lazy late night, where a pair of girls who have decided to throw all caution to the wind and head on a trip to anywhere together are met with two strangers involved in the video’s unexpected ending. All the action, of course, backed by the Cheltenham group performing the song.
All our past coverage of Young Kato is this way.
Like the cohorts of children that carouse within its boundaries, Deer Shed Festival grows up perceptibly every year. This time the powers that be had the astute notion to shift the whole affair a week later in the calendar to encompass the school holidays, thus making it much easier for parents with school-age kids to arrive early in the day. A happy by-product was that the festival sold out for the first time. Result!
So by Friday lunchtime, the site was mostly full: an impressive achievement considering the stresses involved in corralling over-excited children. Having said all that, over a Deer Shed weekend one inevitably misses several sets of essential music due to the inconvenient timing of a child needing a toilet stop, meal break, or perhaps having fallen in the lake.
First on the list of oh-no-is-that-the-time-I’m-going-to-miss-them-now sets was Diagrams, who played at the deeply unsociable hour of half past 5 in the afternoon. Luckily, however, our group had decided to camp next to the eponymous Shed itself, which location, apart from having grass rendered pungently musky by the recently vacated permanent residents, had a direct line-of-hearing from the main stage. So I can confidently say that Diagrams’ set was a triumph, Sam Genders’ tales of adulthood working just as well as festival pieces they do being mused over headphones. The songs were a bit beefier played by a live band, which did them no harm at all, and their breezily jaunty rhythms were a perfect way to kick the weekend off.
Black Rivers, a band for one obvious reason particularly close to TGTF’s heart, were up next, and thankfully experienced in person. They really are very much like Doves, except the bass player is now right-handed. So you know what to expect – a touch of bagginess, tinges of electronica, lots of lovely melodies, and they played one or two Doves tunes. You know the one… oh, the name escapes me now…
Parents hoping for their kids to have an undisturbed night’s sleep would have done well to avoid Du Blonde’s ferocious set: all red lipstick, skin-tight leggings and diva attitude, it’s enough to give even big kids some weird, if not unpleasant, dreams. To be fair, in addition to the noisy stuff, Beth Jean Houghton‘s ballads are arguably even stronger pieces of music, so she’s got the bases covered. As reinventions go, this one has been particularly successful. For any fan of the assertive young lady musician – and even though it’s a cliché I have to make a comparison to PJ Harvey – Ms Blonde is officially the Real Deal.
And so we turn leftwards to Billy Bragg. Granted, some people like him, in the same way as some people like cold showers or running marathons. Worthy causes, but are they truly enjoyable leisure activities? Or is the best part about it the smug sense of satisfaction afterwards, personified by being able to wear the t-shirt for the next 5 years? Personally, I can’t stand the chap, what with his clangy Telecaster and unreconstructed Red Wedge politics. And while Bragg is a fair booking at a bigger event, where those of us who gladly left politics lectures behind in our teens can wander off in search of more welcoming, funky fare, to plonk him at the very head of the bill, with nothing else available on any of the other three stages for the best part of two hours, is bad planning at best, and deliberately divisive at worst. None of our group, including one or two whose politics may coincide with that which Bragg espouses, were remotely bothered about his music. Just as we’d been released from the shackles of childcare, there was nothing to party to. Bummer. So a long wait by the bar until…
…the true headliners of the night appeared. Holy Moly & The Crackers are a band whom it’s impossible to dislike, and easy to love. Lead singer and violinist Ruth has beauty in her soul and her voice, the music is a clever combination of traditional English folk and off-beat Baltic rhythms, and it worked perfectly in a packed Obelisk tent, the crowd united by a love of inclusive music and the basic instinct to have a boogie. After an hour of breathtaking hoe-downs, everyone seemed in agreement – that’s how you do a headliner.
Tomorrow at Deer Shed 2015: it’s the turn of the kids!
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