SXSW 2016 | 2015
| 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 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!
Singer/songwriter Jake Bugg is in the midst of a massive touring cycle following the June release of his excellent new album ‘On My One’. After a busy summer of festival appearances, Bugg will spend September playing live dates in North America before returning to the UK in October and November. A full listing of Bugg’s upcoming tour dates, including shows in continental Europe, can be found on his official Web site.
Tickets for the following UK dates are available now. TGTF’s previous coverage of Jake Bugg, including editor Mary’s feature of his latest single ‘Bitter Salt’, is collected here. Just below the tour date listing, you can watch Bugg’s live performance of ‘Bitter Salt’ from The Great Escape 2016.
Tuesday 18th October 2016 – Manchester Apollo
Friday 21st October 2016 – Glasgow Academy
Saturday 22nd October 2016 – Glasgow Academy
Monday 24th October 2016 – Birmingham Academy
Tuesday 25th October 2016 – Sheffield Academy
Wednesday 26th October 2016 – Leeds Academy
Friday 28th October 2016 – Sheffield Academy
Saturday 29th October 2016 – Newcastle City Hall
Sunday 30th October 2016 – Hull City Hall
Tuesday 1st November 2016 – London Brixton Academy
Wednesday 2nd November 2016 – Bournemouth Academy
Thursday 3rd November 2016 – Cardiff University Great Hall
Saturday 5th November 2016 – Dublin Olympia Theatre
By Mary Chang
on Thursday, 11th August 2016 at 2:00 pm
More photos from this show are available on my Flickr here.
I’ve said it before, and I’ll say it again: there is something very special about witnessing a band from the UK you’ve known and loved for years making a meaningful connection with an American audience. The number present for the Everything Everything show Monday night at U Street Music Hall wasn’t the largest on this short East Coast tour for ‘Get to Heaven’; the Music Hall of Williamsburg gig in Brooklyn last Thursday takes that honour.
Being a DC native, I have understandable bias for shows in my hometown, especially those that elicit this kind of incredible response, and on a Monday night. It should be noted that the crowd was so heterogenous, highly unusual for a DC show usually made up of teenagers and young professionals. Young and old, male and female, regardless of age or persuasion, the devotion expressed to a band making their home some 3,000 miles across the Atlantic was vocal. And loud.
The opening band for the evening was local band Night Kitchen. I think it’s a safe assumption that upon seeing the childhood images of Hungry Hungry Hippos on a band’s EP that the band in question doesn’t take themselves too seriously. In the span of their 30-minute set, beardy, bespectacled frontman and defacto spokesman for the group Jordan Levine cracked a joke about the headliner (“How is everyone everyone doing tonight?”), and extolled the virtues of Thai iced tea (“Make it part of your life!”) and generally made for a light atmosphere that I’m sure was welcome for the youngest of gig-goers.
As for the music, Night Kitchen quickly proved why they were a good fit to perform with Everything Everything. With a similarly eclectic aesthetic, their sound takes cues from indie and funk and their songs have crazy titles. How does ‘title of first track of EP’ strike you? Breaking up their originals was a cover of Gary Numan’s breakthrough megahit ‘Cars’. It was most surprising in that there was no synth present onstage, and yet bolstered by Wyatt ‘T’ Rex’s bass playing, it worked amazingly well. Drummers don’t usually have their own cheering section, but their Emmett Parks did.
2016 marked the year that Everything Everything finally had an American release for one of their albums, for their most recent ‘Get to Heaven’, that had already been unveiled to the British public in June 2015. As long-time TGTF readers know, we’ve had a long affinity for their weird and wonderful music, going back to the 2010 Mercury Prize-nominated ‘Man Alive’. In some ways, you can say we’ve grown up together. They’ve come a long way since their BBC Sound of 2010 longlist nod, yet they’ve maintained their individuality and remained uncompromising about the music they make.
‘Get to Heaven’ is the band’s most outspoken release to date and yet, most songs framed within pop structures, it gets the job done in catchiness while also conveying serious themes. I hadn’t been able to see them play this album properly outside of SXSW 2016 and a support slot with the Joy Formidable earlier this year. This time, playing their first headline show in Washington, the listener was afforded a special peek into this LP, while also being offered choice cuts from their back catalogue. It’s reasonable to expect the kind of enthusiastic reaction from singles ‘Kemosabe’ and ‘MY KZ UR BF’, the latter leading to a mass “whoa-oh-oh” singalong led by ringmaster Jonathan Higgs. The bass-heavy ‘Regret’ and ‘Schoolin’’ bolstered by the impressive chops of Jeremy Pritchard and the last-minute addition of ‘Photoshop Handsome’ to open the encore were nothing short of beautiful.
In contrast, more challenging and less pop album tracks ‘Warm Healer’ followed by ‘Zero Pharoah’ require closer, more intellectual appreciation, the kind of appreciation that is lost on record. Michael Spearman’s atypical drumming on ‘Warm Healer’ don’t follow anyone’s past formula, yet act as a fantastic driver to the song. You can’t help be drawn into the weirdness of the rhythm. The live version of ‘Zero Pharaoh’, which on record left me cold when I was reviewing the album last year, was peerless. Lead guitarist Alex Robertshaw’s guitar lines act as a melodic driving force in Higgs’ analysis of greedy men in power, and it’s a less obvious masterpiece on the album in the shadow of ‘Regret’ and set closer ‘Distant Past’.
Whether it was the emphatic shouting back to Higgs on ‘Spring / Sun / Winter / Dread’ or the awkward boogie to ‘Fortune 500’ and ‘The Wheel’, you couldn’t find a fan in the room who wasn’t jubilantly happy with the band’s performance. The DC gig may not have been their biggest in America yet, but Everything Everything should now have the confidence to undertake a larger tour of our continent the next time they return to our shores. I, for one, can’t wait for their return.
After the cut: Everything Everything’s set list.
Continue reading Live Review: Everything Everything with Night Kitchen at U Street Music Hall, Washington, DC – 8th October 2016
In the process of researching for this review (by which I mean spending lots of time in various sunny fields listening to a lot of excellent music and chatting to a lot of talented people), I found myself face-to-face with Andy Smith, a founder of and head honcho at Kendal Calling. Considering the number of priceless moments his event has provided me with over the years – countless superb bands seen; friends, belongings, and marbles found, lost, and then found again; memorable impromptu jams and karaoke sessions – one would hope to do better in summing the whole deal up with a blokey “Cool festival, man.”
So, here is my homage to Kendal Calling, and considering I have more time to prepare it, I shall attempt to be more fulsome than the above. 2016 was the safest, most grown up version of Kendal Calling yet, and though there is plenty I miss about what was subtly different to previous years, all things considered this was the best installment yet. Apart from a shower early on the Thursday, the sun shone consistently throughout the weekend, which makes an enormous difference to one’s perception and enjoyment of a festival. Speaking of Thursday, I can remember when the evening’s entertainment for those hardy souls who volunteered for a pre-festival night’s camping was a bonfire and vintage clothing stall. Not so of late, and it fell to The Charlatans to close the main stage on Thursday. Surely one of the most well-known bands in Britain, the survivors of the baggy scene do make a delightful, funky racket, and if familiarity has dampened their ability to seem truly special, their sheer exuberance, not to mention liberal applications of Hammond organ, always makes them a compelling watch.
There’s more to Thursday night than the main stage anyway. After hours, the Chai Wallahs tent takes the strain of thousands of people looking to start their weekend with a bang. I’d managed to misplace the new campsite friends I’d only known a few hours, leaving them to buy beer only to realise that it’s impossible to find anyone again at Kendal if you’re actually looking for them. Best to go with the flow, meet people who fate wants you to meet, and take it from there. I remember speaking to a couple of guys who’d come up from Brighton, pretty much the farthest distance it’s possible to travel from on the mainland, and proof of Kendal’s nationwide reach. In true get-it-out-of-your-system style, late Thursday evening was spent mooching around various camps, joining in impromptu singalongs, mostly of songs written by a certain Mr Gallagher…
None of which shenanigans prevents a large crowd gathering first thing in the afternoon for the lively flow of Too Many T’s. I’m personally not sure where these guys have sprung from all of a sudden, but they seem to be all over the place, with a brand of witty hip-pop that’s perfect for an afternoon at a festival. They’ve got a lot of decent tunes that don’t seem to have appeared on record yet. Come on lads, you could have some hits on your hands!
One of the enormous pleasures of Kendal Calling is the undercard in the Calling Out tent, or what should actually be called the New Favourite Bands tent. The Big Moon are four girls from London who make a brilliant racket, perfectly poised between sweetly innocent melodies and flip-the-bird punkiness. There’s such hooks here that even on the first listen to something like ‘Cupid’, it’s impossible not to sing along in raucous joy. Brilliant stuff. And so to our first band of the day that have actually released an album. Hooton Tennis Club betray their Merseyside origins with lazy yet rock-steady beats, some lovely discordant guitar work and jaunty lyrics. Like early Blur crossed with the Lemonheads. And they’ve got an amazingly enthusiastic bass player. Who doesn’t want that?
Manchester’s Gideon Conn was a highlight of my festival last year, and he’s back this with a longer set, except he doesn’t seem to know he’s actually got a full hour to showcase his delicately funky looped observational pieces, so his set climaxes about 15 minutes too early. No matter, because all the ingredients are still present and correct. His wordplay is second to none, and despite the sparse arrangements (keyboard, guitar, occasionally at the same time) he really can get a crowd going. Particularly when he ventures over the barrier and sings amongst the crowd. This year he ended up on someone’s shoulders in a particularly wobbly-looking shoulder lift. At least some random out of the crowd didn’t get hold of the microphone again. Despite the confusion there’s still nothing quite like a Gideon Conn set. Or Gideon Conn, for that matter – one is quite enough for this world.
Catfish and the Bottlemen are astonishingly popular. I was told countless times by people that they’d bought tickets simply on the strength of their appearance. Van McCann’s words from my chat with him at Kendal a couple of years ago were still ringing in my ears: “I want to be bigger than Oasis.” Well, second on the bill here when Noel himself is headlining (a different day, but still) means that he’s still on the perfect trajectory to achieve his dream. It is difficult to objectively understand exactly what it is that Catfish do that countless bands that have gone before haven’t managed. Perhaps it simply comes down to the charisma of the frontman, because despite how well the songs work on a stage and with a crowd as big as they were blessed with here, what they’re peddling really isn’t anything new. But fair play to them – what next? Breaking America? [Something Oasis never did, did they? – Ed.]
Rudimental put on a good show. They’re a big dance band, totally professional, and remind me of Basement Jaxx‘s set on the Friday a couple of years ago. It’s really what the first night of a festival needs: big beats, big tunes, more of which you recognise than you might think, and a really good show. So you wouldn’t think it’s possible for an act to follow that? Step forward the Conservatoire Folk Ensemble, led by violinist Joe Broughton. Who, if they haven’t got the prize for the most number of folk musicians on a single stage, really do deserve an honourable mention. A performance of the most remarkable power, primarily down to the sober dedication of the players – faced with a midnight crowd of hyped-up revellers, no mean feat. Their repertoire is varied, but it’s when they really let rip that their true power is unveiled. Bows fly unhinged across strings, a cajon is thwacked within an inch of its life, even the harp player throws a few shapes. There are even a couple of electric guitarists hidden in the middle somewhere, completely disguised by the swarm of instruments around them. This is traditional folk given an enormous shot in the arm. Exactly what it needs. A truly remarkable experience.
San Diego noise pop duo Crocodiles have announced a brief run of UK tour dates for this October, just ahead of the release of their 6th LP ‘Dreamless’. Due out on the 21st of October via Zoo Music, the album explores a new, less guitar-based sound, leaning instead on keyboards and a broader sonic palette. “We’ve always been a guitar band and I think we just wanted to challenge ourselves and our aesthetic,” says band member Brandon Welchez. “Only one song has zero guitar but in general we tried to find alternatives to fill that space.” Have a listen for yourself in the video for the album’s first single ‘Telepathic Lover’, just below the tour date listing.
Welchez and bandmate Charles Rowell will cross the pond for four UK dates in mid-October. Tickets for the following shows are available now. TGTF’s brief previous coverage of Crocodiles can be found by clicking here.
Tuesday 11th October 2016 – Leeds Headrow House
Thursday 13th October 2016 – Glasgow Broadcast
Friday 14th October 2016 – Manchester Night and Day
Saturday 15th October 2016 – London Hackney Wonderland
By Mary Chang
on Thursday, 4th August 2016 at 4:00 pm
A year and a week ago, New Jersey rockers Titus Andronicus played a 5-night series of sold out shows at the iconic Brooklyn venue Shea Stadium. The live album taken from recordings from the gig series have now been released on Merge Records as ‘S+@DIUM ROCK: FIVE NIGHTS AT THE OPERA’. To celebrate this momentous release and to provide video accompaniment to the audio experience, the band have also released a full concert film with footage taken from these shows. The live experience has been dutifully “captured in such vivid detail” so that “devotees can relive their favourite concert memories from the comfort of their own homes.” Makes sense to me. Enjoy the full film below. For more on Titus Andronicus on TGTF, right this way, ladies and gents.
By Mary Chang
on Wednesday, 3rd August 2016 at 4:00 pm
Hey man! Heyrocco is an American trio from South Carolina who might sound familiar to you, especially if you’re a regular reader of our live reviews here. I saw them last year, supporting Philadelphia’s Cold Fronts. They were quite memorable. I mean, how can you forget a band whose frontman is dressed up in a hot dog suit?
The band have an EP out now, ‘Waiting for Cool’, described on the press release as “a collection of 6 Weezer-when-they’re-on-form like alt-rock numbers”. Piqued your interest yet? ‘Yeah’ is a track from the new EP, and the trio – simply known as Nate, Cool and Taco – have recorded video of them performing the track, filmed at a popular neighbourhood haunt in downtown Charleston called The Royal American. Also included below is a live recording from ‘It’s Always Something New’ from the same live session. Enjoy both below. The ‘Waiting for Cool’ EP from Heyrocco is out now from Vital Music Group in the UK and Europe and Dine Alone Records in the rest of the world.
Page 1 of 308123456...1020...»Last »