GIG: ETHAN JOHNS

Ethan Johns live at the Sacred Trinity Salford 18.02.2013

Review by Jon Birch

Photography by John Cooper

This is the second church gig I’ve been fortunate enough to attend in Manchester and it’s an utterly different experience from any big arena, or theatre show you’ll go to. In such an intimate setting, the artist is able to connect directly with the audience in a way that’s just not possible in larger venues. The audience as well tend to be different too, real fans engrossed in what’s taking place in front of them. It’s a real music lover’s experience.

It’s a surprise to me that the show isn’t sold out and tickets are available on the door. There’s a certain thrill in getting on board with an artist before they break into the mainstream, particularly if you know that what they offer is something pretty special. It’s like knowing a secret before anyone else. On entering the main body of the church, support act Marika Hackman is on stage. She’s a fragile looking creature who sings folk songs with a dark edge. She’s an artist that could easily be swallowed by a bigger venue but the gentle finger picking guitar and haunting vocals are perfect for the location.

The Pugh’s are full and extra chairs have appeared for the latecomers as Ethan Johns’ takes the stage. He’s dressed in a black suit, with a loose, crooked black tie and his messy hair and full beard complete the dishevelled look. He greets the audience and kicks straight off with ‘Hello Sunshine’, the album opener. It’s a gentle arpeggiated ballad and straight away he’s got the room under his spell. It’s been a long tour and it’s evident as he follows on with ‘Red Rooster Blue’ that it’s taking a few minutes to get his bearings. He stops half way through and with a bashful smile, acknowledges he’s sung the first verse twice. With such an intimate setting it works to his favour; we’re all in on this together and it’s all part of the experience. He goes again and it’s on the mark this time. The song, he explains, was written initially for Bush and Blair but dedicates this performance to Cameron and Milliband. The political theme is one that’s carried into quite a few other tracks, particularly the rousing call to arms, Valley. These are thoroughly modern protest songs with a thoroughly traditional sound.

The pace and sound level is upped considerably as Johns plugs in for ‘Morning Blues’, the drum machine accompaniment coming from his iPhone. It’s a classic blues track with a deep throbbing bass line that shows his versatility as artist. A quick apology to The Man upstairs (‘he won’t have liked that one, this might go down better!’) and Johns’ takes to the piano for the musing and mournful ‘Eden’.

Throughout the set, he introduces several new songs, again covering a variety of genres. The highlight is ‘Black Heart’ (the second and last time he goes Electric), a track driven by Swampy-Blues style slide guitar and littered with Americana imagery. He explains that he’s been writing non-stop on the road and these songs are very raw and still works in progress. Even with this being the case, there is enough here to make a second album a very exciting prospect.

Johns’ manner throughout the show is engaging, warm and friendly. For someone who’s been around high profile musicians for much of his life, he doesn’t display the slightest hint of ego. His humour is self-depreciating as he tells anecdotes and explains the stories behind his songs. Part of the beauty of playing a venue like this is that he can talk directly to the audience. With a a different act, not so readily willing to converse, let alone admit they may have failings (‘I’m no good at the talking parts, music does all my talking, it always has’) the atmosphere could easily go stale. Johns’ has such a warm manner and charm that there’s never a danger of that.

There is also a generous spattering of covers including a beautiful and breath-taking version of Gillian Welch’s ‘Revelator’(http://www.youtube.com/watch?v=r4LdjEObjGo)and an encore, that isn’t really an encore (we’re asked to imagine he’s walked off and come back), of Howard Eliot Payne’s ‘Lay Down Your Tune For Me’. The former, he says, may be included on the next album and it would be a huge shame if it’s not.

It’s refreshing to see an artist, particularly one who has been in around the industry for so long, that is so humble and grateful. As soon as he’s bowed his head and accepted the applause, he’s down to the merchandise stall at the entrance to the church, signing albums, shaking hands and thanking each and every person for coming.

The next time he plays in the UK, it’s likely to be in a much larger venue. His music will definitely translate to that (and in fact, he talks of how he envisages full band versions of some tracks), but I feel absolutely privileged to have had the opportunity to see him play such an intimate setting. 

GIG: FUNERAL FOR A FRIEND

Funeral For a Friend live at NQ Live, Manchester 16.02.2013

written by David Beech

I often think that, as a band, it must be quite disheartening playing smaller, more intimate venues after several years of larger ones. It's almost an admittance on the behalf of tour managers/promoters that your fan base isn't what it once was or that your music doesn't resonate the same way it once did. However tonight's show at NQ proved that, for Funeral for a Friend at least, a downsizing in venue doesn't always mean a regression in career. In fact, the very notion that the band are still releasing albums and touring when so many of their contemporaries have fallen by the wayside proves that they're a band that still have a lot left to give.

The first band of the night are I Divide. Exeter's freshest five piece have been hotly tipped as a band to watch out for over the coming months and seeing them live it's easy to see why. Though they've only been a band since 2011 their music is as confident as it is accessible. Pop hooks punctuate heavy riffs throughout in a style that will no doubt appeal to fans of bands such as You Me At Six or Saosin. The band upholds a kind of youthful exuberance and despite playing to a limited crowd, it's transferred to those already at the front, foreshadowing what's expected to be an energetic show.

The second band to grace the stage are Major League, a pop-punk quintet from New Jersey. Despite this being the first time in the UK for the band, they have already garnered a devout following amongst aficionados of the ever-growing transatlantic punk scene. Capturing the lovelorn innocence of bands such as New Found Glory and The Ataris, it goes without saying that Major League will break a whole new generation of hearts in much the same way the aforementioned were doing ten years ago. You would be forgiven for thinking that Major League were the headlining act tonight. They give their all and the crowd reciprocates. Fans of the band already sing back every line and clamour for the microphone each time it's offered by vocalist Nick Trask. If the job of the support band is to warm up the crowd then it's safe to say that Major League go above and beyond the call of duty and have no doubt converted a slew of new fans (myself included) nationwide.

The final support are Such Gold, part of a new generation of pop-punk bands who take as much influence from 90s emo bands such as The Juliana Theory and Christie Front Drive as they do Blink 182 or Green Day. That doesn't mean their show is an exercise in self-pity or pop-punk cliché. Their blend of hardcore inspired gang-chants coupled with melodic guitar parts whips the crowd in to a frenzy. As they're a band who have already established themselves, a fair few members of the crowd are obviously here to see Such Gold above the headliners. Circle pits form at least every other song and fans are drawn in with reckless abandon. 'Sycamore' is a particular highlight of their set and is spurred on by vociferous crowd reactions, much to the chagrin of a security guard who overtly and perhaps unnecessarily felt compelled to make his presence known. However, over-zealous security can't detract from the fact that Such Gold who, despite being fairly new at the game, come across like they've been doing this for years. Their mixture of hardcore and pop-punk might not be to everyone's taste but they were a perfect choice for tonight's main support and only just overshadowed by Major League's ebullience.

At 8.30 Funeral For A Friend take to the stage to riotous applause. Despite it being 6 years since the release of their most commercially successful album, Tales Don't Tell Themselves, Manchester's NQ is packed to the unusually low rafters, confirming once again that commercial success counts for little when your fan base is a loyal as FFAF's. Opening with long-standing favourite 'She Drove Me to Daytime Television' causes the most raucous response thus far. Choosing to omit the more melodic tracks from new album Conduit was a wise decision given the bands limited time-slot and the hardcore enthused elements of contemporary tracks such as 'The Distance' and 'Grey' slot in next to fan favourites such as 'Roses for the Dead' and 'You Want Romace?' as if they've always been there. Front-man Matt Davies keeps the crowd entertained between songs, even going so far as to cheekily ask the aforementioned over-zealous bouncer if the crowd could “start a circle pit around the entire venue?” to which he understandably declines. Penultimate song of the night is the band's début single and my personal favourite 'Juneau'. Finally hearing this song live, a decade after it's release is something really special for me, and the majority of the crowd too given their reactions. However, the song that receives the best reaction of the night however belongs to 'History', taken from 2005s Hours. Davies is barely audible over the crowd who sing back every lyric as if it was their last night on earth and as the closing chords ring out, there's not a person in the room who can leave tonight doubting the staying-power of a band once tarred with the emo brush.

Be that as it may, tonight wasn't without it's drawbacks. There were some minor issues with the sound quality across the board, this was particularly noticeable during FFAF's set which is a massive shame; this however can be attributed more to the location of the venues sound desk (the side of the stage) as opposed to the bands overall performance. In fact any complaints on tonight fall at the feet of the venue as opposed to the acts. 

NQ feels more like the club it is than a venue that plays host to some of the biggest bands of yesteryear and ending on a negative feels somewhat ill-fitting given the quality of the music on show tonight. Sure there were some songs which felt a little flat when compared to the singles, but that’s the perils you face when playing newer material live. All in all this was a solid show and one which cements FFAF's place as one of the top contemporary British bands. It doesn't matter whether they're headlining the Apollo or a backstreet dive such as NQ the passion and the heart that went in to their previous records is back with a vengeance and as long as Davies and co keep making music like they are doing, long may their hearts stay broken and permanently on their sleeve.

GIG: LIAM FRAY

Review by John Cooper (special thanks to Lauren & Amelia for the photos)

When two special acoustic solo performances (an afternoon matinee & an evening) by Liam Fray were announced a few weeks ago, scheduled for the eve of the release of the Courteeners third album Anna, we knew we had to get tickets to one of these shows. Tickets sold out fast (something Liam made comment to and thanked the crowd for during his set saying that it had really meant something to him), and we were more than happy to secure a couple of tickets for the evening show. Also for the cost of £12, this not only included the ticket, but a copy of the new album & and individually signed lyric sheet by Liam – a real bargain. 

We arrived at the Ritz a shortly before Liam was due on stage, and battled our way to the busy bar amongst a crowd of die-hard Courteeners fans. There was a real buzz about in the room, and when Liam walked out the shouts (and screams) were both passionate and loud. Liam launched straight into "How Come" and the crowd responded with singing every word with arms outstretched towards their hero. Even stood to the side you could really sense the atmosphere of this gig was going to be something special, I can only imagine how intense it would have been right at the front in the heart of it all. The first 5 songs were all classics from St Jude with the crowd knowing every single word and singing back at a clearly humbled Liam. He carried on with a couple of B-sides including  “an Ex is an Ex for a Reason” the B-side to the 7” version of the early single “Acrylic” probably a good opportunity for him to dust off these rarely played songs. He then followed up with a good mixture of tracks from Falcon and of course the new Album Anna. The Stand out tracks that Liam played from the new album included “Van Der Graaff”, “Marquee” & album closer “Here Come the Young Men”.

At one point during the show a girl was pulled from the front after feinting and was taken by the security staff to the side of the stage, after finishing the song he was playing – Liam ran off for a few moments to check on her – something that was really good to see that he genuinely cares about his fans – he could have easily left something like that to the officials – so hats off to you Liam. Another incident that happened during the show (something that seems to be a staple of a Courteeners gig is the throwing of beer – why I’m not quite sure as its never a cheap pint in most major music venues and just seems a waste of beer to me), but this particular pint hit the stage and covered Liams back – he didn’t rise to this, have a rant and walk off like some artists might – instead he got on with doing what he does best and entertaining his crowd (who were already booing the pint thrower who had soaked their hero). Liam rewarded the crowd with a real crowd pleaser to finish on “Not Nineteen Forever” cue more singing in adulation. The lights went down and everyone realised that one song was missing, prompting the mass repeated chanting of “Whoh-oh-oooh U-huh-hu-oooh” the final refrain of “What Took You So Long?” and indeed Mr Fray didn’t let down his audience coming out for a one song encore of the song the crowd needed to hear. Upon leaving the venue there were so many beaming faces and the continued singing from them of “Whoh-oh-oooh U-huh-hu-oooh” filled the air as we filed out. A truly memorable night where both artist and audience fed of each other to make it one of those special gigs that will remain in the hearts and memories of everyone who was there.

GIG: METZ

Review by John Cooper

Metz - live at the Soup Kitchen 28.01.13

The Soup Kitchen is well suited for tonights show by Canada's Metz (who are signed to the legendary Sub-Pop label), with its dingy, paint peeling off the brickwork cellar-like appearance - it works with the no nonsense no frills approach of the band - even their lighting is just plain white static spotlights.
It was obvious that this was gonna get loud right from the moment the band kick off (opening with "Knife In The Water") with their hardcore garage punk grunge sound backed by sheer energy - their drummer at times just a blur of hair and arms (reminiscent of Nirvana era Dave Grohl). It only takes them a couple of songs to warm up the crowd and by the time they play their third song "Get Off" the audience are completely drawn in to this sonic assault, and give back the band some of that energy when the whole room erupts as the band kick into "Sad Pricks". The buzz from the audience and the frenzy of the mosh pit doesn't let up to the very last moment of the gig. Even a brief interruption between songs due to technical difficulties doesn't wain the crowds anticipation for more and they are duly rewarded with the set closer "Wet Blanket" which is delivered as a full on growing audio onslaught with guitarist/singer Alex Edkins screaming "NO, NO, NO, NO, NO" and builds to a deafening finale . The lights go down for a minute or two with the crowd repeatedly begging for "one more song" - and Metz come back on to rip it up one last time with their one song encore of "Ratz". In a space of 45 minutes my ears are ringing and I feel mentally exhausted, but I cant wait for the next time Metz are playing in Manchester.

GIG: FINDLAY

Review by Jon Birch

Photography by John Cooper

The Soup Kitchen, located in Manchester’s trendy Northern Quarter, is a fairly busy but quiet, peaceful bar during daylight hours. At night however, it’s building a reputation as one of the places to see new talent, both local and from further afield. As you take the steps down to the cellar it becomes quickly apparent there’s no glitz or glamour to this place. With its bare brick walls, hastily constructed bar and amps propped up on beer crates, this is every inch the underground music venue. It’s a place where rock and roll stories start.

Tonight, its Findlay, ‘Manchester’s little secret’. There’s been a buzz building around her as she’s slowly built a following around her home town and the gig tonight is sold out. The support band, Temple Songs, does a decent job of warming the crowd up with a blend of fast guitars and echo heavy vocals. They go down well, the drummer in particular delivering a storming performance, but with perhaps a little too much distortion on the vocal in such a tiny venue. Even the singers ‘Thank you’ at the end of the set is virtually indecipherable. 

As the time for Findlay to make her appearance draws near, the atmosphere starts to tingle and there’s a real sense of anticipation in the room. So far, Findlay has only released one single, the filthy, riff heavy ‘Your Sister’, and even though some of the crowd will doubtless have seen other performances, the majority are here because of the hype building around her. As she enters the stage, I’m taken aback for a second at how innocent and waiflike she is. Surely this can’t be the person behind the huge voice on that track? Then she picks up the microphone and starts to sing.

She starts off acapella and her voice is stunning. It’s got the quirkiness of Bjork and the power of Amy Winehouse as she taps out a beat on the microphone. The packed room is captivated as she draws to a close before breaking out into rapturous applause and cheers. She offers a quiet ‘thanks’, the two guitars come crashing in and she unleashes the Vixen. The opening few tracks are filled with dirty blues and garage rock guitar, with her voice always the star attraction. As they build to a crescendo in one song, she pulls out a harmonica and it works perfectly, the crowd again whooping and hollering.

The big single (Your Sister) is pitched in mid-set, perfect timing to keep the momentum going and give the people something to get their teeth into. There is a surge of bodies toward the front and hands go up in the air as the piece de resistance is delivered with aplomb.

The set in total lasts only 45 minutes buts there’s not a dull moment and It leaves everybody wanting more. If there are big things in Findlay’s future, and there should be, I’ll be proud to boast that I was there at the beginning. It’s unlikely she’s going to remain ‘Manchester’s little secret’ for much longer.

For more pics head here: Findlay Photos

PHOTO EXCLUSIVE: KEANE

Our photographer John Cooper went down to the MEN Arena on Thursday 29th November to catch Keane on thier Strangeland tour. We hope you enjoy the photos - if you want to see more make sure you visit our facebook page where you can see the whole set: https://www.facebook.com/media/set/?set=a.299175746865978.67385.280480832068803&type=1

 

GIG: ALABAMA SHAKES

Review by John Cooper

Alabama Shakes live at the Manchester Academy 1 - 12.11.2012

After this gig selling out quickly, I didnt think I would have chance to see Alabama Shakes this time around, however one man's misfortune of feeling rotten on the day was to my delight as I was offered his ticket. (Sorry Jon - but I'm so glad you were ill!). As a band, I would say Alabama Shakes were a decent soul/blues band who delivered a good lively set, however when you throw in a front woman like Brittany Howard, all of a sudden they are transformed into something else - a fantastic band with a really soulful voice.... and wow what a voice! I wouldnt even be afraid to compare her to the great Janice Joplin. The Academy was absolutely packed & the band came on at 9pm and were done by 10.20pm, but I loved absolutely every minute of it, and from the looks of the people around me - so did the rest of the Manchester crowd. I'm sure next time they come back they will be playing the Apollo or even bigger!

For anyone who doesnt know what they sound like, you should definately check out the below video:

GIG: BON IVER

 



Review by Jon Birch

Bon Iver live at the Manchester MEN Arena - 09.11.2012

Bon Iver initially came to prominence with their debut album For Emma, Forever Ago. The recording process of that first record is well documented but what came from it is a collection of songs that are intimate and haunting and both intricate and beautifully simple at the same time. I was lucky enough to see the band play Manchester Academy 2 in 2009 and I have never been in a room full of people so transfixed by what was taking place on stage. It remains one of my favourite live music experiences.

My initial reaction therefore when I heard that Bon Iver were to embark on an arena tour was one of surprise, followed by an intrigue as to how their music would come across in a larger venue.

Bon Iver arrive on stage in darkness, the gentle string arrangement of Perth (the opening track to the second album, Bon Iver) sounds out and the spotlight shines down for the first time on Justin Vernon. With his messy hair and unkempt beard, he still looks every inch the lost soul who sought solace in the Wisconsin Woodlands.

The full band on stage, including Vernon, total nine members and musically they are fantastic. The songs are ramped up and along with a blazing light show, fill the arena.

It does sometimes feel that with all this going on, the original beauty of some of the songs is lost. During Creature Fear for instance, the music builds to a huge crescendo. When watching at the Academy show, there were four musicians on stage. The finale to the song was played with two guitars, one drum kit and a keyboard. The result had the whole room mesmerised. At the Arena show the same part was played by the full band including 2 drum kits, a saxophone and a trumpet. It didn’t sound bad, just unnecessary. When a song works so well in a simple form why over complicate?

That’s not to say there weren’t high points. Blood Bank, from the EP of the same name was fantastically well done and Beth/Rest, the second album closer was clearly written to be played in venues of this size. It’s maybe telling that the two songs saved for the encore were perhaps the closest Bon Iver have to sing-a-longs in Skinny Love and For Emma. As Justin Vernon said, ‘we want to leave you as happy as we can’.

To the question of whether Bon Iver’s music can translate to a larger venue? I think that it can. Does it need to, and does it add anything to the music? Not for me.

GIG: JACK WHITE

Review by Jon Birch

Jack White live at the Blackpool Empress Ballroom - 06.11.2012

Stepping into the Empress Ballroom at Blackpool immediately transports you back in time to a more glamorous age. Majestic chandeliers hang from the high arched ceiling and you get a real feel of how this Dance Hall felt in its heyday. Today however, is about Jack White, and there can be few more fitting settings for an artist who so consistently fuses old school Blues whilst continually evolving his technique and sound.

As the crew set up the stage (all dressed in suits, bow ties and bowler hats!), one of them approached the mic. He reminded the crowd that they were there to witness, ‘a live show, not a YouTube clip’, and to watch the action live rather than through their phones. A personal bug-bear of mine, I wasn’t alone in cheering and applauding this statement loudly.

The lights dimmed and the band took the stage (all females tonight, they alternate with an all male band each night). White himself entered to the strains of his latest single ‘Shakin’, picked up his personalised Telecaster, and blasted into ‘Dead Leaves and The Dirty Ground’, an old school White Stripes favourite.

The set was a solid mix of tracks from Whites solo album Blunderbuss, tracks from The Raconteurs and Dead Weather side projects, and of course, the extensive White Stripes catalogue. Hearing these songs played with a full band gave them a deeper, sometimes subtler feel than the original Detroit Garage Blues versions. It’s interesting to note that in a band of six players, there is only one guitar on stage and its White unmistakable sound that drives the show.

A six-song encore is finished with a triumphant medley starting and finishing with the iconic Seven Nation Army and dipping into Catch Hell Blues and the Son House cover/tribute, Death Letter. Whites sound still seems to be evolving and changing with each record he makes and band he starts. I can’t wait to see what comes next.

PHOTO EXCLUSIVE: DJANGO DJANO - HMV RITZ 23.10.12

On Tuesday the 23rd October Django Django played to a packed out audience at the HMV Ritz in Manchester. We sent our photographer John Cooper along to capture the band live in action. For the full set of Django Django photos head over to our facebook page here: http://www.facebook.com/media/set/?set=a.284797431637143.63863.280480832068803&type=1

GIG: THE GASLIGHT ANTHEM

Review by Jon Birch
Photos by John Cooper

The Gaslight Anthem live at the Manchester Apollo - 18.10.2012

I have to start this piece with a confession. I'm an absolute Gaslight nut. Even so, I’ll try and give an unbiased account of an evening with one of the best bands in the world right now (ok, unbiased from the next paragraph!).

I was lucky enough to see the band last time around at The Apollo on the American Slang tour and this set was bigger and bolder. With a larger array of songs at their disposal, the band hammered straight into it and proceeded to play a track from each of their four albums to open the show. These included the fan favourites ’59 Sound and Diamond Church Street Choir which built the atmosphere up nicely and got everyone jumping from the off.

Much has been made of the comparison to Bruce Springsteen but these guys have carved their own sound now, albeit one that owes a debt to the likes of The Boss and Tom Petty. Brian Fallon was on great form and his voice is better than ever live, but its often Alex Rosamilia’s infectious guitar licks that hook you into a song in the first place. The highlight of the set for me was a cover of Bon Iver’s Blood Bank with a Gaslight twist.

A great performance from a band who are just maybe on the brink of something huge.

GIG: WE ARE AUGUSTINES

We Are Augustines live at the HMV Ritz - 03.10.2012

One of our favourite live bands We Are Augustines - back in Manchester (3rd time I'd seen them this year) and played at the Ritz. It was very different from the first time I'd seen them back at the Night & Day cafe on Oldham Street earlier on in the year - a very exciting gig in a small venue, they'd gone from that to playing the Ritz in about 6 months (with a stop off at the Academy 3 inbetween) - they had grown, but their live set had also grown - with the addition of an extra member (and a 3 man horn section also!). They were still great up there, I did feel it maybe took them a few songs to fully find thier stride, but none the less they were pretty amazing - they really seemed to be enjoying themselves and were very humble to be playing there. A fun night at the Ritz - We Are Augustines..... you are awesome!

GIG: BEACH BOYS

Beach Boys live at Wembley Arena - 28.09.2012

When I saw that the Beach Boys 50th Anniversary Tour was coming to the UK, I was a little dissapointed to see only 1 date listed over here........ so this meant a trip down to London. After reading about a few "troubles" between band members (Mike Love deciding to sack the other original members) on the week of the gig, I was a little aprehensive - its possible this could be the last EVER (original lineup) Beach Boys concert - would their hearts be in it - would there be tension on stage..... I needn't have worried - they put on a truely great show!
Considering their age, they can still really pull off those beautiful, complex harmonies, and only had one mental block between them (Al Jardine forgot one of his lines, but still made a joke of it at the end of the song).
They rattled through all the hits & they just kept on coming - playing pretty much everything you could ever want to hear from them from thier huge catalogue of absolute classic pop songs. Even the deceased Carl & Dennis Wilson were remembered & even sang "live" for us, buy using vocal tracks and video from older live footage whilst the rest of the band played and harmonised along with them live on stage. For me it was great to hear and see Carl singing God Only Knows "live" - one of my all time favourite songs. Other highlights were plentiful and included: Do it Again, Catch a Wave, Surfin Safari, I Get Around, I Just Wasnt Made For These Times, In My Room, Wouldnt It Be Nice, Good Vibrations, California Girls, Surfin USA and finishing with Fun Fun Fun - thank you Beach Boys, it certainly has been!!!
For the complete setlist (a massive 55 songs) check here: http://www.setlist.fm/setlist/the-beach-boys/2012/wembley-arena-london-england-2bddd8f6.html
It was a magical night at Wembley Arena and if it really is the last time the Beach Boys play together then Listen Up Manchester is certainly very glad to have made the trip down to London for it!!!

PHOTO EXCLUSIVE: GEORGE MICHAEL - MEN ARENA 21.09.12

Our regular photographer John Cooper @ Zoooomphotos made it down to the MEN Arena on Friday 21st September to bring us exclusive photos from George Michaels Symphonica tour as it hits Manchester. So all you George Michael fans out there - enjoy the photos!

 

 

 

 

 

GIG: BUTCH WALKER

Date: 17th September 2012
Artist: Butch Walker
Venue: Night & Day Cafe, Manchester
Photos: John Cooper (Zoooomphotos)

As we got to the Night & Day cafe the support act Amy Holford was already on the stage playing an accoustic guitar and singing some pretty good songs - I will (as she suggested) check out her music some more online. It was already getting quite busy in there and Amy recieved a solid round of applause. Just after 9pm Butch came to the stage and played the first two songs on an organ - during the first song he hit a bum note and confessed to being "a fuck up". Butch Walker is a very American singer - but he's certainly not quite the clean cut all American guy - with his tattoos, fondness for whisky (a fan had even bought him a bottle and handed it up to him onstage during the gig) & general rocker image - he has a bit of a snarl about him. He is also very funny - not only with his banter with the crowd, but it also comes across in a lot of his songs. He normally tours with his band the Black Widows, but tonight it was just him and his bass player (who came onto the stage to the sound of the Spice Girls Wannabe - the last song I expected to hear tonight) - I think the 2 of them are only doing a couple of intimate UK gigs this time, but might be returning with a full band sometime in the future. Despite the crowded venue getting very hot and sweaty, it was a most enjoyable show & the crowed clearly loved every minute of it!

Here is a clip of Butch Walker with his band for you to check out: http://youtu.be/ZxMlvAxX8ME

GIG: A PLACE TO BURY STRANGERS

Date: 16th September 2012
Artist: A Place to Bury Strangers
Venue: Ruby Lounge, Manchester
Photos: John Cooper (Zoooomphotos)

On a Sunday night what better to do than head down the Ruby lounge for a bit of "Fucked up Rock'n'Roll" - so we headed down to see A Place to Bury Strangers - having seen them back in March 2011 at the SXSW festival in Texas (and had been blown away by them then) I knew what to expect from the night!
First up were a couple of decent support bands (Mr Fist & Deadbeat Echoes) which set the mood nicely with some very loud guitars - and it was nice and loud! Then the lights went down - it was time for A Place to Bury Strangers, and the 4 projectors on stage came to life flickering and strobeing to create a great visual way of lighting the band as they powered though their hour long set. A good mix of new album with a few old favourites thrown in. For a guitar, bass & drums, they make one hell of a noise - with lots of echoes, reverb and effects, but still keeping a powerful heavy rock & roll edge. A Place to Bury Strangers is a fully exhilarating experience. Next time they play I fully recommend getting down to see them.

Top Gig!

If you dont know the band and their music check out this video: http://youtu.be/2ONZ1WgTE9U