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Video of the Moment #2911: Sam Fender

 
By on Thursday, 6th December 2018 at 6:00 pm
 

I’m a big fan of anyone who’s willing to broach difficult topics and without fear. Naturally, Newcastle’s Sam Fender caught our ears for this very reason. Just last week, he was announced to be a ‘repeat offender’ (ha), meaning he’ll return to SXSW in March 2019 to wow crowds in Austin. The Geordie’s latest earworm to get a video (okay, you got me, it’s a lyric video) is for ‘Poundshop Kardashians’. Less than 3 minutes long, it’s a short but snappy wonder providing biting commentary to the “beautiful people devoid of emotion’ that our society seems fixated on through the lens of reality telly. The track appears on Fender’s just released ‘Dead Boys’ EP that I sadly missed reviewing b/c my laptop gave up the ghost last month. (Never fear, I’ll figure out something soon.) This animated lyric video is a great treatment for these cartoon people that have far too much influence and these cartoon times that we live in. Watch the video for the track below. Fender’s ‘Dead Boys’ EP is out now on Polydor Records. All of our past coverage on Sam can be read through here; it includes my review of him performing live at the inaugural This is Tomorrow festival in Newcastle back in May

 

Live Gig Video: Childcare perform ‘Man Down (King Kong Shake)’ at Bristol Tobacco Factory

 
By on Thursday, 6th December 2018 at 11:30 am
 

I recently had a conversation with mates in Glasgow that live videos used as promo videos seem like a cop-out to me. Anyone with a bit of money can send a videographer to an arena show and film an audience’s reaction, right? What is far preferable to me are videos specifically intended to capture an intimate experience with a band doing what they do best: performing a song they’ve spent time and effort writing and perfecting. The most recent and best example of this I’ve come across is a recording of Childcare atop the roof of the Tobacco Factory in Bristol, on a sunny day no less. The South London band seem remarkably at home with the rays pouring down on them and next to solar panels. ‘Man Down (King Kong Shake)’ is a new version of a track that appeared on ‘Luckyucker’, their second EP that dropped this summer, and it seems tailor-made for Bristol’s Lacuna Sessions with its slacker-y, downtempo rhythm.

 

Video of the Moment #2910: Benjamin Francis Leftwich

 
By on Monday, 12th November 2018 at 6:00 pm
 

Earlier this year, London via Yorkshire singer/songwriter Benjamin Francis Leftwich released a new EP, ‘I Am With You’. Last week, he premiered the music video for ‘Gratitude’, a new single that has been taken from his upcoming third album. There’s precious little we know so far about the upcoming LP except that it’ll drop on Dirty Hit Records in early 2019. What we do know is that ‘Gratitude’ is a breathy, beautiful tune that swells to a choral crescendo at its conclusion. Watch and listen to the promo for ‘Gratitude’ below. Past coverage on Benjamin Francis Leftwich on TGTF is through here.

 

Video of the Moment #2909: Gengahr

 
By on Thursday, 8th November 2018 at 6:00 pm
 

Back in the March, Gengahr released their album ‘Where Wildness Grows’. In their effort to keep pushing boundaries, back in September, they released one-off single ‘Atlas Please’. It’s interesting in itself simply for who ended up producing it: Jack Steadman, frontman of Bombay Bicycle Club (you remember them). Although the single’s accompanying promo video has its moment of weirdness, as you might expect from this band based on previous visual efforts, I give them full props for including some truly stunning landscapes here. Watch the video for ‘Atlas Please’ below. Our full archive of Gengahr can be accessed through here.

 

Live Review: IDLES at Dublin Button Factory – 22nd October 2018

 
By on Thursday, 8th November 2018 at 2:00 pm
 

Words by Gareth O’Malley

IDLES didn’t make it over here last time they were touring an album, which is why tonight’s set feels like an overdue celebration of last year as much as it does for their breakthrough record ‘Joy as an Act of Resistance’. The floodgates open not long after support act Heavy Lungs leave the stage. By the time IDLES arrive on the scene just after 9 PM and open their set with ‘Colossus’, anticipation has reached a fever pitch. The song’s first act is delivered at a pace that seems funereal compared to its recorded counterpart. Then, frontman Joe Talbot counts the five-piece back in for part two and the room finally ignites, the first few rows of the crowd on the floor seeming to move as one. It’s the sort of energetic release the band excel at, setting the bar for what is to come.

‘Colossus’ and ‘Never Fight a Man With a Perm’ are the opening salvo of a 19-song set, quickly followed by the politically-charged ‘Mother’ and ‘Faith in the City’ from ‘Brutalism’. Stage banter is kept to a minimum until the band are sure they have everyone in the room on side. “Are there any scumbags in the audience?” Talbot asks cheekily. A resounding cheer goes up by way of answer before he dedicates the next song to them. It is, of course, ‘I’m Scum’, and by the sounds of things, there are plenty of people here who are “lefty, soft, minimum wage job” as the song puts it. ‘Danny Nedelko’ is dedicated by Talbot to “those people here who are not from here, those immigrants that make the world a better place” before the band tear through the song and are almost drowned out by the crowd in the process. Five mics on stage struggle to compete with a thousand-strong crowd roaring back a song that has seemingly come to mean a lot to people in a very short time.

Everyone in the room seems to have brought their best selves to tonight’s show, with Ireland praised for its selection of ‘really good Dairy Milk’ by Talbot before powerhouse drummer Jon Beavis introduces the deliberately overblown ‘Gram Rock’, a song memorably described as being about “two hedge fund managers doing coke at a funeral”. The motorik grooves and punishing walls of sound of ‘Heel/Heal’, meanwhile, are dedicated to local band Fontaines D.C., with Talbot effusive in his praise of whom he calls ‘the best fucking band in the world’. Evidently, some people were listening, as their own show here next month has since sold out. [It has been announced this week that Fontaines D.C. will be joining IDLES on their North American headline tour next May. – Ed.]

The show rolls along at a clip, with fans as open to the band’s message as they are the musical content. ‘Samaritans’ is introduced as “a song that wants to encourage men to talk about their feelings” before Talbot extends gratitude toward the heaving crowd: “Thank you for allowing us to share our message with you.” The song itself is delivered at a pace significantly slower than the album version, but still goes down a storm.

‘Television’ receives one of the best responses of the night, picking things back up as we head into the closing moments of the set. Things get slightly out of hand on ‘Exeter’, with Talbot all but derailed midway through the song by the sheer amount of bodies on stage. He runs with it, though, and the stage invasion generates enough energy to get through the rest of the set. One stage invader gifts Talbot a scarf (“for those cold Irish nights”, he says, though it’s probably serving him well in Europe) and is then surfed back on to the stage no less than three separate times during their cover of Solomon Burke’s ‘Cry to Me’.

The room is treated to a brief a capella cover of Mariah Carey’s ‘All I Want For Christmas is You’ before the set is brought to a close with a frantic rendition of ‘Well Done’ and their traditional set closer ‘Rottweiler’ (“It’s about the horrific right-wing press in the UK … Don’t read the Sun, it’ll give you cancer”). Before they bring the curtain down on their debut Irish headline show in authoritative fashion, Talbot reveals that they’re planning a return visit to these shores sometime in the new year.

No encores, of course – ‘we don’t do them because it’s weird’ – but considering how much of themselves they leave on the stage, they can close shows however they see fit. This might have been somewhat overdue, but it turns out to be well worth the wait. The scramble for tickets for that forthcoming show is going to be brutal.

 

Video of the Moment #2908: IDER

 
By on Wednesday, 7th November 2018 at 6:00 pm
 

There was a whole lot of buzz around good friends and rhythmic pop duo IDER at SXSW 2018. They had recently signed to Glassnote Records and loads of folks were interested in seeing them perform Saturday night at the BBC Radio 1 and the UK’s Department of International Trade-sponsored showcase at the British Music Embassy. IDER’s debut album is slated for release in 2019, and they’ve released another preview of the upcoming LP. ‘Mirror’ in its promo video form is presented in a split screen, with Megan Markwick and Lily Somerville spending time apart in the two halves of the screen before being reunited at its conclusion. Watch the video for ‘Mirror’ below. For more on this intriguing duo here on TGTF, use this link.

 
 
 

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.

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