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Live Gig Video: Editors perform ‘Ocean of Night’ at Dublin Olympia

 
By on Tuesday, 1st December 2015 at 4:00 pm
 

Editors‘ latest music video, like those for ‘No Harm’, ‘Marching Orders’ and ‘Life is a Fear’ that precede it, was conceived, directed and edited by Iranian-born photographer Rahi Rezvani. It was also filmed in black and white. Unlike those past promos, however, ‘Ocean of Night’ stars scenes of fans in the 1,600-capacity Dublin Olympia Theatre on Dame Street in the Irish capital, as well as pensive moments pre-show of Tom Smith and the band in the opulent red velvet covered and gilded venue when the band performed there in October. (It’s truly a beautiful sight to behold in person in full Technicolor, as I had the pleasure to when I saw the Staves perform there back in May.)

While the video lacks the physical presence of Slowdive’s Rachel Goswell (notably the first time an Editors track has featured a voice of someone from outside the band), her ethereal harmonising vocals that appear on this song and several others on Editors’ current album ‘In Dream’ (Carrie’s review here) still manage to be evocative, despite this minimalist treatment. Watch the new video for ‘Ocean of Night’ below. ‘Ocean of Night’ will be released as a single on the 11th of December on PIAS; ‘In Dream’ is available now. For past coverage of Editors on TGTF, go here.

[youtube]https://www.youtube.com/watch?v=nqlY2fxaFrw[/youtube]

 

Live Gig Video: Twin Atlantic perform ‘Heart and Soul’ at Leeds Brudenell Social Club on Dr. Martens’ #STANDFORSOMETHING Tour

 
By on Tuesday, 3rd November 2015 at 4:00 pm
 

Two Saturdays ago, Scottish rockers Twin Atlantic held court at the famed Brudenell Social Club in Leeds for their turn headlining the Dr. Martens’ #STANDFORSOMETHING UK tour that has been ongoing all this autumn. In the below live gig video, the band perform ‘Heart Soul’, a live fan favourite and single from their 2014 album ‘Great Divide’. Twin Atlantic have said they won’t be performing this song again for a very long time – let’s try and think of this as good news: let’s assume they’ve got new material – but the band’s own pronouncement makes this performance all the more important in the annals of their history. Watch it below.

For more coverage of Twin Atlantic on TGTF, go here. For more on the Dr. Martens’ #STANDFORSOMETHING campaign this year and in past years, this is your link.

[youtube]https://www.youtube.com/watch?v=yqeXm5KDO0E[/youtube]

 

Live Review: Frank Turner and the Sleeping Souls with Beans on Toast and Skinny Lister at the Press Room, Phoenix, AZ – 25th October 2015

 
By on Tuesday, 3rd November 2015 at 2:00 pm
 

Hard-working troubadour Frank Turner and his dedicated band the Sleeping Souls have just wrapped up a full American tour, following the summer release of Turner’s new album ‘Positive Songs for Negative People’. The American tour ended on a bit of an anticlimactic note in New Orleans last week as Turner and two of his bandmates suffered food poisoning and were forced to cancel their final show, but their gig in Phoenix on the previous Sunday night was more successful, with a lively and receptive crowd turning up early at downtown venue the Press Room to catch support acts Beans on Toast and Skinny Lister ahead of Turner’s headline set.

Beans 1

Essex singer/songwriter Beans on Toast (known offstage as Jay McAllister) came on stage without delay and warmed up the still-arriving crowd with an engaging acoustic set of narrative tunes that were by turns personal and political, comical and caustic. From his vantage point at the front of the stage, McAllister drew in the eager audience with a brief commentary on American culture in the form of a song called ‘The Great American Novel’, from his upcoming new album ‘Rolling Up the Hill’. A handful of older Beans on Toast songs were also well-received, particularly the interactive sing along ‘Fuck You Nashville’; though only a few hardy Frank Turner fans were familiar with the tune from previous shows, the rest of us learned the critical chorus line quickly enough to join in.

SL 1

After a brief lull in the action, folk-punk collective Skinny Lister enthusiastically took the stage, bringing their customary whisky jug along to share with the “21 and over” portion of the audience. Opening with songs from their recent album ‘Down on Deptford Broadway’, Skinny Lister quite frankly stole the show, their high energy exceeding what was to come later from Turner and the Souls.

Beginning with ‘Raise a Wreck’ and the incorrigible ‘Trouble on Oxford Street’ before breaking into ‘George’s Glass’ and ‘Cathy’, the band interspersed their established crowd-pleasers with a couple of yet-to-be recorded songs, including an especially charming one called ‘Colours’. Lest the presence of an accordion trick anyone into thinking that these were a sedate group of folk musicians, Skinny Lister ultimately proved their rock-‘n’ roll prowess with a rousing performance of ‘This Is War’, ending their set with frontwoman Lorna Thomas triumphantly climbing atop Michael Camino’s personalised double bass. In red heels.

Turner and the Sleeping Souls were able to capitalize on Skinny Lister’s unbounded enthusiasm in the opening section of their three-part set, bursting onto the stage with uptempo belters ‘Get Better’ and ‘The Next Storm’. Promising a mix of songs from throughout his career, Turner plowed through ‘Losing Days’ and ‘Josephine’ before the Souls left him alone onstage for the second, solo section of the show.

FT 1

This middle section is where the true, diehard Frank Turner fans no doubt found their greatest joy, as Turner plucked his way through a few forgotten gems. ‘The Ballad of Me and My Friends’ was warmly received, as was newer favourite ‘The Way I Tend To Be’, but for my money, this section was a bit overly drawn out, and I was surprised by the rather flat solo version of ‘Glorious You’, which was gloriously anthemic in its recording on ‘Positive Songs for Negative People’.

The Sleeping Souls rejoined Turner for the final section of the show, which rallied the punters’ energy with hit tunes ‘Photosynthesis’, ‘Recovery’ and ‘I Still Believe’, but never quite regained the momentum lost in the previous half hour. I was mildly disappointed that neither ‘Love Forty Down’ nor ‘Silent Key’ appeared in the set on this night, but Turner did touch one last time on ‘Positive Songs’ when he reached the encore, captivating the restless crowd with a stunning performance of ‘Song for Josh’. Once he had our rapt attention, Turner quickly amped up the energy with ‘Try This at Home’ and closed the show on a more characteristic high note with the ‘Four Simple Words’ we were all desperately waiting to dance to.

FT final

Beans on Toast will release his new album ‘Rolling Up the Hill’ in December 2015 via Xtra Mile Recordings. A list of dates for his upcoming November tour of the UK can be found on his official Web site. Frank Turner and Skinny Lister will begin their tour of the UK this week, accompanied by fellow Xtra Mile artist Will Varley; you can find listings of those live dates here and here. TGTF’s full archive of coverage on Frank Turner can be found by clicking here, and our previous coverage of Skinny Lister is right back here.

Frank Turner setlist (setlist photo by Carlos Gonzalez)

 

Live Review: One Direction with Jamie Lawson at Newcastle Metro Radio Arena – 25th October 2015

 
By on Monday, 2nd November 2015 at 2:00 pm
 

The sound of young girls screaming filled Newcastle Metro Radio Arena Sunday, the 25th of October, as One Direction performed the first of three shows as part of the Newcastle leg of the “On the Road Again” tour.

Support on the night came from Jamie Lawson, a questionable and unexpected choice of warm-up act. Nevertheless, the 39-year-old who recently signed to Ed Sheeran’s record label Gingerbread Man Records, was well received by onlookers, as he sang original songs from his self-titled debut album. This included his top 10 hit ‘Wasn’t Expecting That’ and an almost unrecognisable cover of his headline tourmates’ hit ‘More Than This’.

As Jamie Lawson left the stage, there was a sense of anxiety in the 11,000 capacity venue. It was at this point during the Belfast concert a mere 4 days before that the gig was cancelled due to Liam Payne falling ill. However, any feelings of anxiety were quickly replaced with excitement as Liam, along with Harry Styles, Louis Tomlinson and Niall Horan burst onto the stage to perform ‘Clouds’, ‘Kiss You’ and ‘Fireproof’.

The audience, which was predominantly made up of preteen girls (otherwise known as “Directioners”) and their parents, sung along to every word, maintaining the energy and enthusiasm for ‘Girl Almighty’ and ‘Midnight Memories’. Even those who had unwillingly been dragged along were beginning to clap their hands and tap their feet. After an energetic start, One Direction, backed by a live band, slowed down the proceedings with ‘Better Than Words’, ‘Story of My Life’, ‘Stockholm Syndrome’, ‘Ready to Run’, ‘Don’t Forget Where You Belong’, ‘Night Changes’ and ‘Little Things’. Such tracks produced some shiver-down-your-spine moments as the words echoed around the Metro Radio Arena.

At regular intervals throughout the 2-hour-long set, the boys took some time out to address the fans: reading out their banners, engaging in conversations, poorly imitating the Geordie accent, and thanking them for their loyalty. “It may sound cliché, but we have the best fans in the world,” said Louis, much to the delight of the onlookers. As the end of the concert neared, the boys continued to rattle through the set list, which primarily consisted of hits from the boyband’s last two studio albums (‘Midnight Memories’ and ‘Four’), including ‘No Control’, ‘Little Black Dress’, ‘You & I’, ‘Through the Dark’, ’18’, ‘Where Do Broken Hearts Go’ and ‘Little White Lies’. This was followed by ‘Perfect’, the band’s second single as a four-piece, and the mature, pop-rock vibes of ‘Steal My Girl’.

After a short break, One Direction returned to the stage for the encore. ‘Act My Age’ brought out the boys’ Irish dancing, whilst ‘What Makes You Beautiful’ was a welcome reminder of why everyone fell in love with the band in the first place. ‘Drag Me Down’, the first single to be released in the post-Zayn era, brought the night to its conclusion, as Harry, Louis, Liam and Niall revelled in the thunderous applause, and deservedly so.

One Direction’s first night at the Metro Radio Arena in Newcastle marked 7 months to the day since the departure of Zayn Malik, who left the band to pursue a solo career. Despite the setback, the boys showed that they are stronger than ever, as they look set to enter their hiatus after the conclusion of their current tour on a high.

 

Music Cities Convention DC 2015 Roundup

 
By on Wednesday, 28th October 2015 at 2:00 pm
 

Long-time readers of TGTF are aware I’m no stranger to travelling to the UK to attend conferences and meetings. This past Sunday, however, I was invited along for a special opportunity that required no travel longer than an hour, for where I was going was less than 30 miles away at Georgetown University. Hmm, I could really get used to this… So this afternoon, I’ll be telling you about the first DC event of the Music Cities Convention, only the second to follow the inaugural event that took place in Brighton the week of the Great Escape 2015.

Music Cities Convention is described in the convention programme as “the global gathering to focus on the relationship between city planning, strategy, development, regeneration and the music industry”. Unlike other conferences I have attended in the past, filled primarily with record label folk, A&R bods, publicists, journalists, bloggers and musicians, Music Cities have a different, much wider breadth of attendees, all with at least a toe or hand somehow related to keeping the music industry thriving. This meeting in DC was filled with those representing local industries, supporting musicians and their livelihoods, and who work in education, housing and transit policy.

Every city and the parts that make up its local music industry are unique. Something that became clear quickly just by skimming the convention’s programme was its incredible international representation. What other meeting could you attend where you would be hearing presentations as varied as:

• a detailed assessment on the many facets of what makes Austin such an important music city in the first-ever city level music industry census (Nikki Rowling, Titan Music Group)

• the benefits of city ‘twinning’ for both the city and musicians involved in the case study of Belfast and Nashville (Mark Gordon, Generator Northern Ireland and Tracy D. Kane, City of Nashville)

• based on past successes, the confidence to commit to a 10-year festival plan in Sweden (Stefan Papangelis, City of Norrkoping)

• the development of a Culture and Development and Initiatives (CDI) team for a Canadian city not traditionally associated with a big music industry (Kwende Kefentse and Ian Swain, City of Ottawa)

• assessment, then development of a live music task force specific to an individual Australian city’s challenges (John Wardle, National Live Music Office of Australia)

• how to attract artists to play shows and events at a less central city in Sweden by supporting the artists directly and having intelligent urban planning and infrastructure already in place (Fredrik Sandsten, City of Gothenburg)

• keeping musicians employed and housed while supporting and benefiting local at-risk children (Ismail Guerrero, Denver Housing Authority and Jami Duffy, Youth on Record)

I was really impressed by all the presentations on Sunday. Immediately evident each time a different presenter took to the podium was that person’s passion for this business and his/her hard work in bettering the industry in their part of the world. Taken together, the programme was a massive reminder of how important we all are in keeping the music industry alive – and thriving! – and how many different parts of this industry there are – and how important the passion of the people in those parts of the industry – are in continuing on that path.

Each country, including my own here in America, has its own challenges in the years ahead. But by working together, and coming together via groups like Music Cities, we can grow and learn from each other’s experiences and ultimately help musicians making music and keep their livelihoods and grow the industry, both on the local and global scale. The world has become so much smaller thanks to technology and the internet, and it’s not just a choice, it’s now our duty to make and keep connections across the globe and keep the music industry a viable one for generations to come.

Thanks very much to Dr. Shain Shapiro, Martin Elbourne, Michael Bracy and the entire Music Cities Convention steering committee for their kind allowance for me to attend. For more information on Music Cities, please visit their official Web site.

 

Live Review: Little May at DC9, Washington DC – 24th October 2015

 
By on Tuesday, 27th October 2015 at 2:00 pm
 

Through having several close Aussie friends, I’ve gained remarkable insight on just how hard it is for an Australian band to break away and out of their home country. When one manages to do so, such a secure a major label contract in the UK, it is indeed A Big Deal, no pun intended. Little May, three talented young ladies from Sydney have done just that, now part of Island Records’ pop-drenched family in blighty (think Ben Howard and more recently, Dublin band The Coronas). The trio who dabble in pop, folk and rock sounds have released their debut album ‘For the Company’ this month. (You can read Steven’s thoughts on the new LP here.)

The band are an interesting proposition live, because some of their songs don’t sound at all like the way they look, if that makes sense. Liz Drummond (sometimes lead vocals and guitar) in her leather jacket and goth lipstick and purple-haired Annie Hamilton (guitar, synths and backing vocals) wearing all black ‘should’ be punks, which fits into the harder-edged Little May songs. On the other side of the spectrum, Hannah Field, lead vocalist on some of their songs, acted as band cheerleader. Wearing a shirt with the new album cover, getting down with the groove to dance onstage and smiling a lot, she seemed the most approachable of the bunch. The sweetly twangy ‘Bow & Arrow’ and the gently anthemic ‘Seven Hours’ are a great showcase of her lead vocal talent. The band unite in harmony on older song ‘Boardwalks’, a clear standout from the night.

Hannah Field of Little May, live in Washington at DC9

The girls worked with The National’s Aaron Dessner on their debut album, and Field explained how they were incredulous when he responded to their email with a request to have him as their producer. ‘The Shine is Brighter at Night’, which they cowrote with Dessner, was dedicated to him. Field and Liz Drummond’s self-deprecating stage patter and humour will definitely help them over their career, something Laura Marling has turned into an art form. Drummond related a story about a recent practise session during which a neighbour banged on their door and complained about their 2014 EP track ‘Hide’, saying to them, “your music is repetitive and jarring”, which of course the crowd laughed at. Field also big-upped state-run, Australian radio station triple j for their support of the band, trotting out a cover of Icehouse’s ‘Great Southern Land’ that they did for their long-standing Like a Version series and enlightening us on Icehouse’s prominence in Aussie musical history. (Past memorable moments in the Like a Version series include Glass Animals covering Kanye West’s ‘Love Lockdown’ and Divine Fits covering Bruce Springsteen’s ‘Hungry Heart’.)

Little May, live in Washington at DC9

However, it wasn’t until the very end of the show when we fully felt the heft and passion of Little May’s music, when they ended with ‘Remind Me’. Heavier and with a bluesy bent, it’ll be interesting to see what direction they go in for album #2, as they certainly have the chops to hone songwriting in either of the folk or rock sides of their band’s personality. Having just released their debut album, it feels like the band are still finding their feet in performing the newer material, but I expect they’ll be quite comfortable soon enough and as their North American tour rolls on. They’ll be in Minneapolis 7th Street Entry tonight, and then it’s onto the West Coast to wow crowds there through the 3rd of November.

 
 
 

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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