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Great Escape 2013: John’s Day 3 Roundup

By on Monday, 3rd June 2013 at 3:00 pm

After two days of revelry and debauchery on the streets of Brighton, TGTF heads were heavy and the party decided that a debrief in Giraffe, a chain restaurant serving quite frankly the best breakfasts on the South coast, was appropriate to clear the haze from the past 2 days, and augur the body for the day ahead.

After the demons of the past two days were expelled, not literally I may add, I dragged myself to meet the extremely personable Itch, ex-frontman of The King Blues and generally lovely chap. You can watch the interview here. After a nice chat in his tour manager’s garden, I ventured to the Blog Up, where the impressive Embers were attracting a capacity crowd in the tightly woven confines of The Mesmerist. The sound in the venue made for a deafening spectacle, which wasn’t help by us at TGTF setting up camp right next to the main monitors. With earplugs donned, it was easy to see the attraction of Embers.

They’re young, good looking and have an archetypal tall, dark and handsome lad on lead guitar and vocals in the form of George Agan. Their sound is extremely big live though, there’s a splash of prog, with comparisons to Muse overarching throughout the set, but it’s all kept grounded by the fact they have a cutesy female violin player. It all is a bit more authentic for that fact at least. (7/10)

After a few drinks in Brighton’s most reputable watering holes with some of my compadres from my former life in Guernsey, it was back off on the long journey to Concorde 2 to catch one of my favourite bands Tall Ships. They’re a group who go about progressive rock in the right way, that being their own way. They’re not smashing dubstep into the equation and shoehorning in electro wherever they can, they’re making exciting guitar music on time signatures that excites me in ways that aren’t suitable for even here.

‘Phosphorescence’ sounds pristine, as if it’s been ripped straight from ‘Everything Touching’, their fantastic debut record. Whilst ‘T=0’ is the ultimate set closer, forget ‘Knights of Cydonia’, scratch all of that, and wow, it absolutely went off. The disappointment was that it seemed to only be certain sections of the crowd enjoying the expertly crafted riffage, perhaps they were all too worn out from Hacktivist’s drivel the night before. However, at least in certain small sections of the crowd it was obvious there was a deep appreciation of the musical chemistry going on in front of them, aloft on stage. (9/10)

My trudge back towards the pier is at least cheerier for the fact that I was to be reunited with editor Mary, and that I would shortly be watching one of my guiltiest pleasures The 1975. However, whilst I was on the guestlist, and 10 minutes before the band were scheduled to venture on stage, I was rebuffed by the bouncers on the door. Instead of fleetingly and pointlessly arguing my case to the two gentlemen, who were, I quote, “taking none of my shit”, I hopped step and legged it to The Dome to sneak into the capacity Bastille show. What I was to be met with was unbeknownst to me…

Think of the audience to your classic, McFly or The Wanted show; sprinkle a sparing dressing of awkward looking v-necked boyfriends, and voilà, you have the cornucopia of underaged girls amassed to pay tribute to their new favourite band Bastille. Bastille have literally everything going for them at the moment; frontman Dan has hair that does that flicky thing, I mean, do I even need to continue? Yeah, all right then. The tunes are horrendously catchy and are accessible to all, Radio 1 friendly and firmly embedded on the A-list. The throngs of screaming girls just add to the blurred hysteria around the band, who can seemingly do no wrong in 2013.

Their debut album ‘Bad Blood’ is there with Mumford and Sons‘ ‘Sigh No More’ just for its mass appeal alone. Hence why The Dome was at capacity when I squeezed my way through. Note: I’m 6’ 5″ and look like a potato, so for any poor girl whose view I blocked with my massive form, I apologise, but it was for the good of music…

The almost fanatical following that the band have developed led me to believe that the performance was going to be one of pure showmanship, energy and enthusiasm. Instead, Bastille slogged their way through a set that looked like it was almost a trial to them. They looked like they’d just fought of millions of Persians at the Hot Gates, and Spartans they are not, with their weariness etched clearly on their visages. Every note, from the album tracks, to set closer ‘Flaws’ was sung, well, flawlessly. Dan even did a little circumnavigation of the crowd during the encore. But overall the set seemed lacklustre. Perhaps the band have been on tour for too long, or it was an off night, but either way, it was a set to forget by these up and coming less-than likely lads. (5/10)

To close the festival for me, it was a trip to the seaside. To the stage where my first romance with The Great Escape began, Coalition, to watch for the second time of the weekend, Mikill Pane. My opinion was that he would be more suited to the late night slot, in a larger venue. This wasn’t the case though, as technical problems and an overawing backing band distracted attention from the fantastic London rapper’s lyrical prowess.

Mikill wasn’t being a diva, far from it, as the microphone was cutting in and out throughout the short set. But his reaction somewhat detracted from the excitement of what was geared up to be a livewire set, but sadly ended up being quite flat and repetitive. (6/10)


Great Escape 2013: Mary’s Day 3 Afternoon Roundup

By on Monday, 3rd June 2013 at 1:00 pm

After a relatively low-key Friday night, I was raring to go on Saturday morning, feeling much better to take on day 3 of the Great Escape 2013. First things first, though. At John’s recommendation, he, myself, Braden (who if you recall used to write for us, but has now gone on to become the Live Editor of Sound Influx – this becomes important 2 days later in London), John’s PA for the weekend and sometimes TGTF contributor Hannah and Hannah’s boyfriend George found ourselves having a very nice breakfast at Giraffe, a mere 2 blocks from our flat. Definitely a good shout, John, for a fantastic breakfast burrito and a very nice fruit smoothie to start the day right in a healthy, mum-approved kind of way. (I loved this place so much, when I saw the chain restaurant in Heathrow a couple days later, somehow they got another £15 off me…)

Apparently, the good people of Brighton – and everyone English or from wherever else – recover from late nights and drinking a lot better than I do, because it was with some surprise that when I tried to get into the Dome Studio Bar (formerly known as the Pavilion Theatre), there was a queue. That’s right. At 12 noon. I was sure everyone would still be asleep and nursing sore heads. Uhh, no. Luckily, the entire Don’t Panic, We’re From Poland showcase was running late, so by the time security finally let me in, I was able to catch three songs by former pop idol but now singer/songwriter in her own right (Monika) Brodka.

Brodka Great Escape live

I got whiffs of the teenage Annabella Lwin of Bow Wow Wow from Brodka’s look onstage: free-spirited, she had on glow in the dark face paint, unusual headgear, and very loud , red clothing. It ended up making her look more childlike than necessary and to be honest, her look I think detracted from the actual performance, which was extremely energetic with Brodka and her band, who brought synthy melodic goodness and beats that everyone in the place were dancing to, rather happily I might add. They brought the place down with the loudest cheers I think I’ve heard for such an early show during the day at the Great Escape. Good job.

At some point I thought John and I were going to have a drink in the afternoon, but he was running around doing interviews (good man!); you always think you’re going to have time to spend with your fellow writers at a festival, but it never actually happens! I think next year I want to bring a friend along with me to either Sound City or the Great Escape to have a comrade in arms, someone to bring me back down to earth and who’s not scooting around town to catch gig after gig like the crazy people we are. Going to work on that… Having scanned the afternoon schedule, I realised I had not returned to the Blind Tiger, the hot box I remembered last year who played host to alt-J and Django Django, and I wondered what the place would be like during daylight hours.

Boats Great Escape live

The Saturday afternoon there was a special Canadian showcase, and after a discussion I’d had with Martin in Gateshead a couple days previous about bands whose names were entirely unGoogleable (MONEY, College, etc.), I thought I’d see the entirely unGoogleably-named Boats, hailing from Winnipeg, Manitoba. I had absolutely no clue what they sounded like so it was either going to be really, really good or really, really bad. I was pleasantly surprised, as well as highly entertained. Not going to lie, singer Mat Klachefsky has a very unusual voice for a man, kind of like Elton John on helium? I’m not describing this properly; wait for a while, I’ve got video somewhere on my camera.

They are also very funny; they have a song called ‘Advice on Bears’, which Mat said drolly “is a song about advice on bears”. I thought, ok, this sounds pretty appropriate for a band from *Canada*, right? Enjoyable and entirely unpretentious synth effects bleeped and blipped before rocking guitar and drums and Klachefsky’s unusual voice came in. Overall, Boats are a very fun band to watch and to listen and dance to.

There wasn’t anything particularly jumping out at me for the rest of the afternoon, and I was supposed to rendezvous and get boozed up with a whole bunch of bloggers later at the Blog Up at Mesmerist. I don’t know if it actually happened or it was just a rumour, but Friday night the word on the street was one of the ‘Special Guests’ on the schedule at the Haunt was actually Palma Violets. So after poring through the schedule one more time with a cup of gelato, I decided to take a chance with the Latest Music Bar, which also had a similar marking on the Alternative Escape schedule. I popped in just in time for the last song by piano-playing singer/songwriter Jordan Bradley. He’s a bloke of course but I got a Lady Gaga vibe off him somehow in his singing? Definitely too in the look: in a red suit and a grey quiff, it all seemed very theatrical. I’d have to listen to him more to make a more quality assessment.

Fort Hope Great Escape live

The ‘Special Guest’ downstairs at Latest turned out to be part screamo, mostly hard rock quartet Fort Hope. Their tour manager explained that they had recently been on tour with Americans We Are the In Crowd, who I gather from John is a pretty big deal in the rock/punk genre. As Fort Hope began their set, with their admirable guitar licks and well-constructed songs. This isn’t a genre I consider a favourite but there was just something in their songs, including their next single ‘Control’ out on the 24th of June, that just clicked with me. Keep an eye on these kids – I say kids because they look really young, but musically, they sound very accomplished!

Embers Great Escape live

The afternoon was rounded out at Mesmerist by Manchester’s Embers, who had come highly recommended by several bloggers, including Breaking More Waves’ Robin Seamer (who refused to see them again on Saturday, saying he didn’t want to sully his memories of seeing them at Above Audio on Friday afernoon) and the aforementioned Braden Fletcher. They were loud and good, but I think because everyone had spoken so glowingly about them, the bar in my mind was set too high. Yes, they have a rock violinist, that’s cool. But will they survive in their genre? That remains to be seen.


Audio Interview: Steve Garrigan of Kodaline at the Great Escape 2013

By on Monday, 3rd June 2013 at 11:00 am

Steve Garrigan Kodaline interviewIf it’s something we learned in the last 12 months, it is always trust Gary Barlow. Last summer, he Tweeted about loving a new band from Dublin called Kodaline. At the time, I wasn’t sure how to pronounce the band name (yes, how embarrassing; I know now, it’s Koda-LINE [rhymes with SiGN]) and we really didn’t know much about the band at all.

Fast forward many months later, and after a BBC Sound of 2013 nod, their first appearance at SXSW and loads of other firsts, I caught up with singer/songwriter Steve Garrigan in Brighton for their debut appearance at the Great Escape 2013. In this interview, I learn that the band used to live in the seaside town (who knew?), they thoroughly enjoyed their time in America supporting the Airborne Toxic Event (tears were shed!) and much more. We were sat outside the Dome in brilliant sunshine and you couldn’t have asked for a better backdrop, really.

I thank Steve very much for this interview, as before we started recording, I learned that the poor guy had just flown in from the TATE tour in Toronto and of course was still on American time and very jetlagged. The fact that they went on to perform that night (at Brighton Dome no less), then do two more shows the following day, just blows my mind. Thanks for being a trooper, Steve!


Great Escape 2013: John’s Day 2 Evening Roundup

By on Friday, 31st May 2013 at 3:00 pm

An American Diner hot dog and a chat with the lovely Nina Nesbitt was my treat for the interval between bands on Day 2 of the Great Escape 2013 as I ventured across the Brighton seaside for some rock and roll at Concorde 2, courtesy of Arcane Roots, Marmozets and to a far, far lesser extent, Hacktivist.

Following the release of their debut record ‘Blood and Chemistry’, Arcane Roots have built upon their already formidable stock, gained through endless touring and promotion to become a hearty prospect on any billing. The record ‘Blood and Chemistry’ itself is fantastic, and is chocka block with the kind of anthemic rock music that Arcane Roots are powering out at the moment.

Live at Concorde 2, the guitars are absolutely huge and frontman Andrew Groves and bassist Adam Burton throw themselves about the stage with such force, it’s a miracle that by the end of the 30-minute set that they haven’t collided in anger. Central to the showcase is Groves’ tremendous vocal range, with his piercing falsettos and screeches reaching the ceiling of Concorde 2 before plummeting down to meet us in the pit.

Slow is anthemic in its inception and it’s obvious that this festival season you’re going to hear a lot of it. Maybe not as much as Daft Punk’s ‘Get Lucky’, but still, you can’t miss it. It’s huge. The entire set though proves a testament to how the band is destined for a massive 2013 and onwards. The songs are brilliantly constructed, and the three-piece pull those off with ease in the live arena, adding a beautiful bedlam to the proceedings. (9/10)

Marmozets offer up a less refined platter than Arcane Roots. Their music is very raw, with cutting riffs galore. Frontwoman Becca MacIntyre is not cut from the clichéd Hayley Williams or Florence and the Machine cloth that every female focal point is lambasted with these days, instead she hails from the relatively new school of Eva Spence. The kind of madam, who is not to be f****d with, if you get my drift?

While the rest of the band look no older than 16, they shred away through a set littered with wonky time signatures and shrieks. It’s a brilliant kind of catastrophe on stage as the band do look like they met 5 minutes before, but the music more than compensates as belting tune, after belting tune is produced by the five piece who have been garnering some more than favourable reviews from the associated rock press. (8/10)

Now after two brilliant sets of proper rock ‘n’ roll I was presented with the nu-metal sludgery of Hacktivist. A truly vile and awful band that genuinely upset me. Their cover of ‘Niggas in Paris’ by Jay-Z was frankly offensive and their nu-metal bile was aggressive and at times frankly just rude. No grace, no charm and arguably one of the worst bands I have ever seen live. Nothing more to say really, except that anyone saying nu-metal belongs in 2002-ish clearly hasn’t heard Hacktivist and realised that even Limp Bizkit had more going for them than this group. (0/10)

It didn’t get better from there sadly, as I ventured to The Loft for something a little lower key. Instead I was greeted by the tuneless aural assault that was The Weatherbirds. To give the lads credit, they are young and obviously were nervous, but it was a set of monotony, where each song blended seamlessly and regrettably, dully into the last. Luckily, it was only 15 minutes long. (3/10)

To close the night at The Loft were Nightworkers, a band who sported hairstyles from a variety of genres and generations. We had a faux Robert Smith on lead guitar and Huggy Bear’s English cousin on bass, fronted by a veritable Jim Morrison/Tom Meighan collaboration in the form of Jack Moullin. The songs are there, first and foremost, as a live outfit they are really tight regardless of whether their keyboard player Joe Haberfield is available.

Going back to the Meighan comparison though, Nightworkers have everything about them to emulate the Leicester-born, heirs to Oasis’ throne. Frontman Moullin is confidence personified and the lad-rock swagger is there in abundance throughout their short set. It’s all about boozing, broken romance and a bit more of the former and the crowd respond with a minor stage invasion, to which the band reacted well, by joining in the party on stage. (8/10)

After a break to catch my breath after the chaotic scenes at The Loft, it was off to arguably the biggest spectacle at The Great Escape 2013: the return of Klaxons. Now, I never got the fuss about Klaxons when they were first about, sure one of their members is fornicating with Keira Knightley and she’s swanning about Brighton and yeah, 2006’s ‘Myths of the Near Future’ was a top album. But 2009’s ‘Surfing the Void’ was utter bile, bar ‘Echoes’, so why the fuss? The whole ‘inspiring a genre’ is something I don’t buy into at all. However, with an opportunity to catch what the hassle was all about was one I couldn’t resist.

What I was met with was a slap in the face, as the synth-driven awesomeness of ‘Atlantis to Interzone’ hit me smack bang in the face. The set began at that pace and there were no signs of it ceasing, as the new songs which everyone was anticipating fitted seamlessly, into a set of Klaxons at their poncho wearing best.

Five new songs in total were what we were treated to, and if that is the quality that we should be expecting from their third record, then I am definitely in for a telling off. Thanks for proving me wrong, Klaxons. Now do something more awesome. I dare ya! (9/10)

To end the night, it was to somewhere a little more low-key than the Corn Exchange, the Green Door Store, where Canadian rock band The Balconies were closing the evening’s shenanigans. The sound was the opposite of low-key though, as frontwoman Jacquie Neville gyrated and gesticulated about the petit stage. The disappointment was that the band’s bass and guitar monitors were sadly far too loud and drowned out Jacquie’s voice, which on record for the Canadian outfit is the finest part.

However her energy and the sheer brutality of some of the songs were enough to limp along the set, for an extremely LOUD end to day 2 in Brighton. (5/10)


Great Escape 2013: Mary’s Day 2 Evening Roundup

By on Friday, 31st May 2013 at 1:00 pm

Every time the recurrent thought of “oh, I’m not doing the Great Escape next year, it’s too mental” comes into my mind, something amazing happens while I’m in Brighton that restores my faith about the seaside festival. True, it tends to attract more of the ‘entitled’ crowd than Liverpool Sound City does; the first afternoon this year, I was pushed to the side by two uni kids who were whinging about something instead of actually watching the band on stage. But for the sheer random things that seem to only occur in Brighton and you’re in the music business, you can’t beat TGE.

Last year I got lost one morning, only to be hilariously greeted by the sight of Zulu Winter (who I’d met at SXSW 2012 2 months earlier) literally busting out of their van on New Road. Friday night this year, on the recommendation of Ed Blow of Dirty Hit, I ordered moules and frites at the Dorset and who should call my name but Henry Walton, guitarist of the same band, in town playing in his friend’s band for the weekend. It was nice to see an old friend, but really, I was chuffed that he remembered me! If you’re wondering, Zulu Winter is working on their next album, which is great, great news! (Another moment to savour during the weekend was Jon Higgs of Everything Everything saying, “my, you’re a clever girl!” when I showed him my day job business card; his parents are biologists, which intrigued this boffin editor.) But on to Friday night…

In general, I usually don’t have to worry about badge queues at SXSW, because the majority of acts I want to catch in Austin are indie and British and usually aren’t all that well known in America yet. This night, my idea of catching Marika Hackman at the Unitarian Church and swanning in quickly and easily through the badge queue didn’t go exactly to plan. And to be honest, had I not gone up to security at the back door and asked him if there was a separate badge queue, I think everyone queuing would have just stayed in their places, oblivious that there should have been some queue hierarchy. So always ask! After my enquiry, they decided not to have badge and wristband queues; no, they decided to have 3-day versus weekend badge queues. Not terribly fair either; I can see if I were English and had to work on Thursday, there wouldn’t have been a point in me buying a 3-day wristband, is there? Anyway…

Marika Hackman Great Escape live

I got inside, only to hear the last 2 songs of Hackman’s set. Once inside the church, I realised what the problem with the place was; the room they were using was tiny! I was expecting it to be as big as the main room of St. David’s in Austin, and it’s nowhere near that. Forget the size for the moment, though. Whether it’s divine intervention or not, every concert or set I’ve seen inside a church has always been acoustically brilliant, and Hackman’s set here was no exception. Considering what I’d read previously about her love for Led Zeppelin and Fleetwood Mac, I was surprised to see her stood with her guitar and no other accompaniment. She looked a little scared faced with so many eyes watching her. However, talent won out, as she stood resolutely to deliver one after another of her lovely songs. The applause at the end was thunderous, and she bashfully exited stage left with a huge grin on her face.

From there, I decided to check in to one of my favourite venues from last year, Sticky Mikes’s Frog Bar closer to the water. Why? There was a rock/folk double-header like no other, that’s why: Story Books, who I’d befriended at this year’s SXSW, and To Kill a King, TGTF 10 for 2013 poll alums who I’d not seen live yet. While I was waiting down the front, I met two really sweet girls on either side of me who knew of both bands, and neither were bloggers or in the business – seriously, what are the odds, right? One was from London and the other had come over from Canada. Going real international.

Story Books Sticky Mikes Great Escape live

Both bands have a lot of band members so the question was, how was eveyrone going to fit on the stage? The space restriction did affect Story Books’ Kris Harris and his ability to truly rock out the way he likes to when he’s wailing, but considering what space he was given, he did an admirable job with his moves on tunes like ‘Glory and Growth’. I think ‘Too Much Like a Hunter’ EP opening track ‘Simple Kids’ is ranking up there with my favourite anthemic songs of 2013 and will become a classic; it’s got such a memorable chorus and a driving rhythm throughout, just so mesmerising.

To Kill a King Sticky Mikes Great Escape live

If you’re a To Kill a King fan and don’t fancy Bastille (me) or you waited too long to buy your top-up tickets to the Brighton Dome show Saturday starring both to them (my new friends from London and Canada), then the only option left was to see To Kill a King alone at Sticky Mike’s on Friday. I’m really quite glad I chose this show over several others, and I’ll tell you why: even though they’re not entirely folk, TKAK put on one of the most memorable sets of my TGE experience this year, feeling like the cross between a hoedown and a house party. You wouldn’t expect a band that puts out an album called ‘Cannibals With Cutlery’ to be so amiable and non-aggro, but Ralph Pelleymounter and crew quickly got the crowd behind them with their winsome brand of rocking out folk.

The main complaint I have about Sticky Mike’s basement –besides the low, claustrophobic ceiling and stupidly placed beams always in your sightlines – is that there is no way in hell you’re getting a mobile phone signal down there. So if you’re going to meet somewhere there, you better get your communications sorted and plans made before you descend. I was supposed to meet several people there, but couldn’t find any of them. I did however run into the brilliant Louise Minter of AMP Publicity, who recognised me from last year and gave me a free-t-shirt; how nice is that? And with that, I went home. Yeah, I know, going home before midnight on Friday night at the Great Escape is a bit of a copout, isn’t it? Sometimes exhaustion wins out, though. And trust me, resting up for my Saturday was entirely worth it!


Great Escape 2013: John’s Day 2 Afternoon Roundup

By on Thursday, 30th May 2013 at 3:00 pm

Header photo of Mikill Pane at the Fishbowl by Hannah Saul

To shake off the cobwebs / hangover / grossness of Thursday at the Great Escape 2013, an early start and breakfast at somewhere fancy seemed appropriate. My foolish decision to choose a croissant over a delicious panini, which my colleagues indulged in, was to be the first of my folly for the day.

Feeling unfulfilled and underwhelmed by my breakfast, I headed alongside Ollie from Top Button and Hannah Saul, TGTF’s resident videographer, towards the Fishbowl for my first Alternative Escape event of The Great Escape. In front of me were five fresh-faced lads from New Desert Blues. Their set proceeded to be a short showcase of what this band are all about, with a youthful exuberance in their music, their five-piece harmonies gracefully travelling around The Fishbowl.

The intricate guitars from their lead player proved the perfect augur for frontman Josh Parker’s brilliant voice. The tunes sounded big live, of that there was no denying, but when I returned home and had a listen to them on record it became clear that these guys were immensely talented. At the Fishbowl, there was an intense nervousness it seemed, but the impeccably dressed five-some with pristine instruments in hand managed to overcome these nerves to produce a thoroughly competent set. (7/10)

Following up from that were Night Engine, a band who our Head Photographer Martin Sharman raved about after their performances at Liverpool Sound City. Not only that, but I doff my cap to any band who play four gigs in the same city in 3days. It’s not record breaking stuff, but impressive nonetheless, especially with the level of energy and dynamism the band puts into its set.

At Above Audio, Night Engine did not disappoint. Frontman Phil McDonnell is a bastion of brash confidence, and their immensely funky bass riffs provided by Dan Deacon. It’s all quite faux-romantic material, with shades of one of their heroes Bowie prevalently appearing throughout. The entire gig in fact stunk of a late ’70s, early ’80s vibe which translated to the huge crowd brilliantly as heads bobbed in sequence. The tunes weren’t entirely memorable, but as a set, they gelled well and they stuck out as a shining spark amongst the indie scene at the moment. (8/10)

After a brief detour to buy the most sour sweet I’ve ever tasted (more on them later) we ducked into the Fishbowl again for some more Alternative Escape goodness, in the form of London rapper Mikill Pane, or as I see him, the black Example. Just listen to his new single ‘Good Feeling’ and tell me you don’t think of the silver-tongued rapper.

Onto Mikill though: an imposing fella at over 6 feet tall and not really what you expect at a venue like the Fishbowl, more akin to hosting guitar bands and such. But Mr. Pane makes the most of the packed crowd, shoehorned into the constraints of the venue. His call and return style of performance works brilliantly to a novice audience, and has the punters eating from the palm of his hand from square one.

Having cycled down from London (again, more on that later) his exuberance and high-energy in performance alongside DJ Odin was admirable and saw him earn a lot of fans amongst the naysayers. In fact, by the end the choruses were being belted out by the most timid fan, to the seasoned revellers. Harley Alexander-Sule of Rizzle Kicks was one of the amassed crowd, and just showed how Mikill Pane’s pop credentials are all there:

Friends with Rizzle Kicks – CHECK
Collaboration with Ed Sheeran – CHECK
Ridiculously catchy tune about cycling – CHECK
Endless call and repeat choruses – CHECK
The backing of Example and other pop juggernauts – CHECK

Smiles were worn by all around the Fishbowl at the end of Mr. Pane’s set but none wider than Pane himself. (9/10)


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 was edited by Mary Chang, based in Washington, DC.

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