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(Charity!) Teenage Cancer Trust Shows / March 2019

 
By on Tuesday, 11th December 2018 at 9:00 am
 

Last week while I was away, the Teenage Cancer Trust announced a slate of amazing benefit shows to take place in March 2019 at London Royal Albert Hall. Tickets went on sale last Friday, the 7th of December, so a good chunk of tickets are already gone, but don’t fret. There’s still time to pick up a ticket or two (maximum of four, please). On Monday, the 25th of March, Rudimental will be performing with main support Ghetts. Thursday the 28th of March sees perennial popsters Take That take to the RAH stage with special guests. Naturally (we are There Goes the Fear, after all), we’re most keen on the live re-emergence of Doves, who will be performing on Friday, the 29th of March, after being on indefinite hiatus since 2010. Irish (and my) favourites The Script (pictured at top) will follow on Saturday the 30th of March. To cap things off in style, Levellers will perform alongside the bands on their own curated bill on Sunday, the 31st of March. It’ll be an unforgettable week of music in London, and all for a very worthy cause. Check out Gigs and Tours’ available tickets for any or all of these shows through here.

 

Preview: Kendal Calling 2016

 
By on Thursday, 7th July 2016 at 10:00 am
 

As Glastonbury fades into the distance, the only evidence that it ever happened being clods of mud on the soles of one’s wellies, hours of BBC catch-up to plough through, and the occasional sweaty 3 AM nightmare featuring a gurning Charlotte Church. Oh, and several acres of Somerset farmland piled high with litter and abandoned tents. I’m sure we all had a blast. Whether you were there in body or only in spirit, those wishing to relive the hedonistic peaks and chilled-out troughs of a top-class festival, without, shall we say, the negatives of an enormo-fest like Glasto, should look no further than Kendal Calling.

Less crowded, less pretentious, (slightly) less muddy, and, most importantly, more Northern, Kendal Calling has occasionally been called the Glastonbury of the north. And in spirit, that’s certainly true. Fair enough, it can’t attract the likes of Adele as a headliner, but if you want a sweary Londoner there’s always Rat Boy. Kendal’s biggest strength is its party atmosphere: wherever you are, you’re never very far away from the hoedown that goes on in front of the main stage all day. This year will climax with sets from d’n’b stars Rudimental, Brit-ska legends Madness and a prime slice of dad rock from Noel Gallagher’s High Flying Birds (pictured at top). There’s something for everyone on the main stage: hard rock from Band Of Skulls, The Hives and the Darkness, urban sounds from Sugarhill Gang and Too Many Ts. And, um, authentic North West humour in the shape of the inimitable Lancashire Hotpots.

Having said all that, TGTF’s favourite stage is the Calling Out tent. Want to know who’s going to be big next year? Look no further. From burgeoning youngsters like Sundara Karma, The Amazons and Rosie Lowe, through acts on the verge of mainstream breakthrough like Teleman, Eagulls and Spring King, this is where the smart money hangs out. Headliners Blossoms, Ghostpoet, and, astonishingly – if he turns up! – Pete Doherty, make Calling Out a mini-festival all of itself.

That’s not to mention the other little nooks and crannies of the beautiful Lowther Deer Park. Those fond of a hot spiked beverage can chill in the always-reliable Chai Wallahs. Obscurantists and beard-strokers are to be found in the Riot Jazz tent, hosting the unique brilliance of Gideon Conn (again, hurrah!), with the Riot Jazz Brass Band performances always a Kendal highlight. If you fancy a Tim Burgess-themed bacon sandwich, then head to the Tim Peaks diner. If, instead, you’re partial to a sit-down and some profound spoken words, Carvetti’s your spot (last year’s Aziz Ibrahim interview was particularly instructive). And let us not forget the 3 AMm intensity of the Glow Tent’s beats. There’s only a handful of tickets left at the time of writing. What are you waiting for?

The last few adult weekend tickets to Kendal Calling 2016 are available for £135 plus fees. To purchase yours, get them from Ticketline.

 

The BBC at Glastonbury 2014 (Friday): Rudimental perform ‘Not Giving In’ at the Pyramid Stage

 
By on Saturday, 28th June 2014 at 2:00 pm
 

Wherever you will be hanging your hat this weekend, whether you’re joining the sheep at Worthy Farm or you’ve got your feet up in front of the telly, us here at TGTF will have you covered when it comes to Glastonbury 2014. The dedicated people they are, the folks at the BBC will be working all hours during the festival and feeding us live coverage as it becomes available. What does this mean for you? We’ll be passing along all the best bits to you, our faithful readers.

2013 Mercury Prize-nominated drum ‘n’ bass, electro and soul band Rudimental probably wins the Glastonbury 2014 award for the most dramatic set stoppage on Friday. Quite simply, they had to stop playing when the heavens let down a massive, scary thunderstorm with lightning deemed so treacherous, festival organisers had no choice but to stop their performance entirely. Still, they got some massive tunes, such as ‘Not Giving In’, but now thinking about it, the title is completely ironic, isn’t it? Watch their performance below.

For more of the BBC’s Glastonbury coverage online, head this way. Stay tuned for more videos from Glasto 2014 right here on TGTF.

[youtube]http://www.youtube.com/watch?v=PehU08uefGs[/youtube]

 

Mercury Prize Shortlist 2013: Is It Even Relevant Anymore?

 
By on Thursday, 12th September 2013 at 11:00 am
 

Yes, ladies and gentlemen. That time of year has crept up on us again. Yesterday evening, the nominees for the Barclaycard Mercury Prize 2013 Albums of the Year were revealed in London. Maybe this is the direction the Mercury Prize nominations will be going in from here on out, but it’s rather startling how mainstream this year’s shortlist is. In past years, there was always one or two curveballs thrown in the mix of straight-forward, famous artists and well thought of indie. Not so much in 2013…which leaves me wondering if this competition is even worth my time anymore in the years going forward.

Let’s examine the biggest names first. The now Josh Homme-influenced Arctic Monkeys just got in under the wire, with their new album ‘AM’ literally just made it to store shelves this past Monday. They don’t need any help selling records. (Technically, they also fall under the next category I will examine, but for the sake of argument, it’s this album people are focusing on, not one 7 years ago…which won the gong that year.) Neither does legendary artist David Bowie; his March 2013 surprise release ‘The Next Day’ also makes an appearance on the shortlist.

Then there are the repeat ‘offenders’. Dubstep wonder boy James Blake, whose self-titled debut album in 2011 garnered a Mercury nod back then, is yet another safe and predictable choice. Given their headline slot at Latitude Festival this year and continually rising star, Foals‘ nomination for ‘Holy Fire’ (review here) is not such a shock. But they were nominated for and lost in 2010 for ‘Total Life Forever’. I’m a great fan of Conor J. O’Brien’s songwriting, but this year’s ‘{Awayland}’ pales in comparison to its predecessor, Villagers‘ 2010 opus ‘Becoming a Jackal’.

While he was 1/2 of the nominated collaboration with King Creosote in 2011’s ‘Diamond Mine’, Jon Hopkins makes another appearance, this time by himself for ‘Immunity’. There is also no escaping the fact that the selection of Laura Marling‘s ‘Once I Was an Eagle’ (review here) comes across as particularly lazy: the woman’s been nominated two times already prior to this. I’m all for equality when it comes to music awards and it’s great that this year there are two female singer/songwriters on the shortlist, but surely there has got to be another woman – and in the folk genre, certainly – whose album would have been up to snuff to the Mercury voters instead of giving Marling another nomination.

Next, let’s look at the acts that are toeing the line between their indie background and their big chance at the mainstream. Having enjoyed a successful 2012 with sold out shows and his debut album selling very well, Noel Gallagher‘s sneery young protege Jake Bugg makes a not so surprising appearance on the shortlist. Popular Brum soul singer and #4 on the BBC Sound of 2013 list Laura Mvula also receives a Mercury nod this year for ‘Sing to the Moon’. Helps quite a bit that both of them are on majors (Mercury and RCA, respectively) and therefore had major label muscle to help along the promotion of their debut albums.

If there is one saving grace of this year’s shortlist, it was that instead of a truly oddball experimental jazz album getting a nomination, dance is for once decently represented with not one but two good albums: Disclosure‘s delicious brand of house in the form of ‘Settle’ and Rudimental‘s drum and bass-rich ‘Home’. But wait a minute. They’re on majors too, Island and Warner. Hmm… The one oddball nominee, if they can be called that, are post-punk girl group Savages. They might not be a household name – yet – and they’re on an indie label (Beggar Group’s Matador) but they were already firmly in our brains from their BBC Sound of 2013 longlist nomination. Yawn.

This all begs the question, just how relevant is the Mercury Prize in 2013? Also, was it ever relevant? And when did it stop being so? While it has never been a dirty little secret but rather an obvious known fact that major label backing helps with funding, which leads to promotion and visibility opportunities and therefore record sales, this is probably the year more than any other in the past in which the expensive fee to enter the Mercury competition comes through loud and clear as the reason why this year’s list is sadly predictable. In a piece by the Guardian’s Michael Hann, Kerrang! editor James McMahon said the egregious lack of metal on the shortlist year after year is a major oversight: “The thing is, within the rock music industry there’s a bit of debate about how bothered people are with an award like the Mercury. The other year we were pushing the idea of Bring Me the Horizon being nominated as an innovative, exciting British rock band who want to be seen out in the world – but they didn’t enter. If the rock industry doesn’t have any belief in its relevance, what can the Mercuries do? But if it were genuinely the 12 best records of the year, it would be blinkered to ignore metal.”

Hann’s article goes on to point out that Leeds buzz band Hookworms chose not to enter either, their frontman MJ explaining, “The nondescript thousands in marketing fees and physical product is even more shameful [than the entry fee]”. Even ubiquitous rock journalist Pete Paphides took to social media yesterday to bemoan the situation: “It’d be good to have a music prize where part of the sponsorship meant bands not having to pay hundreds of £s to be eligible for contention.” Quite right. There is no one obvious solution to “fixing” the Mercury Prize because let’s face it, like all award shows, it’s a business, and businesses exist to make money. But it’s a shame that what the Mercury Prize used to be known for – bringing attention to lesser known acts that otherwise might not get their time in the limelight – seems to have been all but been entirely forgotten.

 
 
 

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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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