New Music

The Vaccines – Barrowland Ballroom

Live music, Music Review

No-one else does glamorous indie rock and roll quite like The Vaccines.

When The Vaccines emerged onto the UK music scene with their debut album in 2011 they immediately landed themselves in no-band’s land. Pop music was in a transitional phase with the girls (Rhianna, Lady Gaga, Katy Perry, Adele) on top and the folk rock revival (Mumford & Sons et al.) gaining momentum. Guitar bands were already “so two-thousand and late”. Arriving at the wake of landfill indie to find the buffet cleared and the chairs stacked, The Vaccines had no business hanging around. And yet…they delivered their first two LPs with such a moreish blend of earnestness and – ironically – irony that they almost single handedly revived the genre. Thirteen years later it’s hard to say whether the longevity and success of The Vaccines is an underdog story, or if contempt for their particular brand of English lad rock is merely a play in the culture wars waged between those Millennials utilising their university degrees in gainful employment and those who are not. It doesn’t really matter either way. What matters is that they’re still doing what they do, and doing it incredibly well.

In support of their latest studio album, Pick-Up Full of Pink Carnations, the band brought a scintillating energy to their sold out show at Glasgow’s iconic Barrowland Ballroom. Their 75 minute performance encompassed an unrelenting 21-song set that made the two opening acts – Divorce and Teen Jesus & the Jean Teasers – seem like a completely separate gig, on a whole other night of the month, such was the intensity and immersive quality of The Vaccines frenetic musical joyride. Each of their six albums was honoured and, as is the measure of any decent live act, the songs cohered seamlessly over the course of the set. One could argue that The Vaccines’ biggest weakness is that their songs all kind of sound the same but the flaw in this thinking is that it’s actually a fantastic sound. Tonally, there’s not a lot of diversity but each and every song contains a top tier melodic hook and at least one indisputably relatable lyrical truth.

Articulating highlights among the no-filler set is super subjective: Wetsuit sounds more poignant than ever; Discount De Kooning (Last One Standing) offers a cathartic, jubilant singalong; singer Justin Young in his element, effortlessly windmilling his way through Headphones Baby is something to behold and has the crowd frothing. It’s all delightfully inconsequential. With an average bpm somewhere around 140 the show is over breathlessly quick. A four-song encore that ends with an entirely crowd-sung Norgaard underscores the need for both fresh air and levity.

“The longer we do this the luckier we feel” declares Young and in the current music industry landscape it’s easy to believe him. No-one does it quite like The Vaccines, anymore.

Maximo Park – Boiler Shop

Live music, Music Review

Maximo Park kicked off their first proper UK headline tour in four years with an exuberant sold-out hometown show at Newcastle’s Boiler Shop on Saturday night. Having been rescheduled from the early summer due to ongoing restrictions the show took place just two and half weeks since the band last performed in the city. On that occasion a small run of shows celebrating their 2007 sophomore album Our Earthly Pleasures was offered in gratitude and as an incentive to fans who bought their newest album Nature Always Wins which charted at number 2 in the UK upon its release back in February. A series of album release out-stores was also scheduled in late August with a couple of festival slots thrown in as well, so in actual fact the band should have been in the full swing of national touring by now.

A lot can change very quickly in these times however, as we’re all acutely aware, and in the intervening period singer Paul Smith contracted, isolated and “recovered” from Covid-19, and so the first spark of magic around this night is that it even happened at all. Knowing the type of energetic performance Maximo Park usually deliver, it’s not unreasonable to think they might have delayed to allow Smith more time to restore his stage-fitness. Yet in taking a risk and going ahead, under the circumstances, they gave a performance that redefined audience expectations and the very concept of leaving it all on the stage.

Beautifully matched in support for this tour is the charming indie pop of Chester’s Peaness, who take as much delight in saying their band name as the audience does in hearing it. They seemed genuinely unfazed by the scale of the event or the weight of their responsibility, and their performance rightly carried an air of confidence and easy-going frivolity. Despite their dinner order not arriving in time to eat before going on stage they were utterly delightful, bopping and thumping their way through a set of tight harmonies and catchy refrains, welcoming all latecomers in from the bitter rain and wind outside.

From the moment Maximo Park walked on stage the atmosphere was thick with a kind of heavy joy and sparkling excitement; the room was ablaze with anticipation. For many people this was their return to live music and the band, knowingly, pitched a set to allow for maximum relief and release. New songs featured strongly throughout and were received with astonishing fervour. There can be no denying the singalong quality of recent singles like Baby, Sleep or I Don’t Know What I’m Doing but even the quirky stop-start ambling of Child of the Flatlands was met with grateful enthusiasm. “Thanks for going on that psychedelic journey with us there” Smith quipped when it was done. An interesting mix of iconic hits and obscure singles representing each of their six previous albums fleshed out the set, a particular highlight being Calm from 2009’s often neglected Quicken The Heart album. It was obvious from their response to each and every song that this was a crowd at capacity with love for the band and their music. Such rapturous, spontaneous and sustained applause might have felt excessive in pre-pandemic life but “in the parlance of our times”, as Smith referred to it, the greatest and most authentic expression of appreciation is surely a whoop and a clap. The band clearly felt it too; their joy at the exchange and pure thrill of performing live again couldn’t be contained and lit up their faces relentlessly.

If Paul Smith was feeling any lingering effects of illness on his lungs he didn’t let it show through his voice, neither his pitch nor sustain was impaired – in this writer’s opinion it was perhaps his best vocal performance of the year so far, and whether this was down to some extra effort in preparing to tour post-virus or simply a quality of the room on the night, it was undeniably powerful. While he purported to be losing his voice towards the end of the main set he still mustered a scissor kick during Books From Boxes, then when he admitted he was succumbing to fatigue the band blasted through a hyper rendition of Limassol before taking a quick break and returning for a three-song encore.

              “As you can clearly see / I’ve lost some luminosity / I hadn’t bargained for such intensity”

The opening lyric to Partly Of My Making bore a tangible irony that the audience seemed to relish. It’s not the easiest count if you’re dancing or swaying along but vocally the crowd gave as good as they got out of it. Had it not been demanded so emphatically the band probably could have gotten away without an encore, given the dazzling intensity of the first sixteen songs. But of course, they hadn’t played Apply Some Pressure by that point either and with each passing song and Smith’s energy waning there was a hint of disbelief when the moment finally came to close out the night with such a potent song. More than ever live music proves to be a healing force and Maximo Park know just how to deliver that vital medicine.

Idlewild – Aberdeen Music Hall

Live music, Music Review

On the weekend that Idlewild released their latest album Interview Music they played 3 separate sets in Aberdeen; two at the AECC for the BrewDog shareholders’ AGM and one semi-acoustic instore at HMV. Whether by coincidence or by design they also rounded out the UK leg of their Interview Music tour at the city’s recently transformed Music Hall on Sunday night with a rousing set of modern classics and old favourites.

The XCERTS had the privilege and responsibility of getting the bank holiday crowd warmed up for one of their own favourite bands, which proved to be more than within their capabilities. The three-piece, originally from Aberdeen, have been sailing a sea of praise since their fourth album Hold On To Your Heart was released at the beginning of 2018. Their unapologetically ripe blend of instantly sing-a-long-able choruses, almost-familiar riffs and heart-on-sleeve lyrics on this album and subsequent out-takes EP, Wildheart Dreaming, seem to connect with even the grittiest of old school Idlewild supporters. There’s no denying Murray MacLeod’s stunning vocal is the centrepiece of these songs; whether rocking out on upbeat openers Daydream and the Petty-esque Drive Me Wild, or crooning through piano-lead power ballad The Dark, his delivery is loaded with melodrama and earnest romanticism. The ten-song set rushes by to close with the irresistible a cappella chorus of Feels Like Falling In Love. Job done. The crowd is suitably thawed.

Following a career highlight tenth show at the Barrowlands in Glasgow the night before Idlewild seem astonishingly relaxed when they take to the Music Hall stage. Their energy and resolve is not diminished any by the previous night’s antics however and they set straight to task bringing Interview Music alive for their assembled followers. Dream Variations introduces the new album straight away with equal measures of everything this band is about in 2019; a rock-solid rhythm section, duelling guitars and piano, soaring harmonies and, of course, Roddy Woomble’s abstract lyricism. A curious feature on the new album that comes into play further as the set progresses is the mid-song change-up; a different tempo, a different energy, new melodic ideas break through. The title track takes one of these moments to catch its breath before launching an all out sonic assault. It’s not out of place, more a reminder that the band still love to jam, still love to throw everything into their performance.

New songs are few and far between, for being an album-specific tour, but where they do come they’re well received by the Aberdonian crowd. Woomble points out that the record sold particularly well in the city, so it’s unsurprising to see so many people singing along. Radio single Same Things Twice sees fists in the air and voices raised as if it’s been in the set for the last decade. Admittedly, it has one of the catchiest choruses on the new album, and live it takes on a coarseness and density to rival anything off 100 Broken Windows. Indeed songs like Roseability and Little Discourage elicit spontaneous pitch perfect sing-a-longs and the crowd need little prompting to join in when Woomble says he’s needing support on Live In A Hiding Place. Another mid-set highlight is the frenetic and angular A Ghost In The Arcade. Washed in strobing green, white and blue lights, it closes with a rambunctious solo from guitarist, Rod Jones, and finds Woomble watching on not from his usual shadowy side-of-stage vantage point but from the front corner of the stage; an indication of just how relaxed he is within the performance.

From the point of American English the set takes off on a melodic upward trajectory, buoyed by the crowd and reciprocated by the band. It leaps from El Capitan to yet another reworked rendition of the fan favourite When I Argue I See Shapes, altogether faster and fuzzier than on the previous tour but still not as messy as the original. This could be its best incarnation yet.

The band wave a brief “thank you and goodnight” but don’t waste much time before returning for their encore. They still have a lot to deliver but spare some grace to introduce the first song, in tribute to Scott Hutchison, a cover of the gut-punching Frightened Rabbit anthem Head Rolls Off. It’s powerfully uplifting from start to finish, leaving many faces scorched with defiantly jubilant tears. The encore is relentless rock after that, wringing out every last ounce of love from either side of the barrier. As if the band had something to prove. Finishing with In Remote Part / Scottish Fiction there’s still a sense that the band could come back for a second encore and the crowd are restless and demanding until the house lights finally come on. It’s enough, for now. They’ll probably be back; seems they quite like playing Aberdeen. And they would be welcome, any time.

Party At The Palace – Linlithgow Palace

Festivals, Live music, Music Review

Delivering on its name Party at the Palace brought the good times to Linlithgow on an otherwise dreary summer weekend.

Touted as Scotland’s premier family festival, now in its 5th year, the event offered something for everyone with a diverse and balanced musical line-up over the two days, as well as rides and entertainment for all ages. Saturday saw the best of the weather, staying dry for the duration, while Sunday threatened drizzle after some heavy showers in the morning but never lived up to the worst expectations. Fans were not deterred either as an estimated 15,000 attended over the weekend.

The compact site hosted 3 stages with music kicking off just after lunchtime. The cosy Purple & Orange Acoustic Stage was located within a marquee furnished with hay bales and stalls offering assorted delicious traybakes and hot drinks. Acts here ranged from straight up pop and folk singer-songwriters to country, blues and hip-hop bands, and all sets were well attended by relaxed, attentive audiences.

Located nearby, the Breakthrough Stage showcased some of the finest unsigned talent from across the region. The fact that sets were able to turn around so quickly after just a 20-25 minute performance really speaks for the professionalism of the artists and crew running this stage, and band after band provided exciting, fresh and original music with no filler.

Early sets on Saturday from Calum Frame and Splendid Suns got the crowd warmed up; the former with a cool Americana vibe (closer Shake Off Your Demons exemplifying the best of his sound) and the latter featuring some beautifully stirring guitars. By the time reggae and ska ensemble Aye n Aye came on people were really loosening up on the grassy dance floor. Rock duo Pyro showed promise with Cameron McLean’s heavy guitar providing a substantial platform for drummer Connor McCarthy’s raw vocals. With fiery passion and more than a touch of angst Stephanie Cheape moulded incredibly intimate lyrics and powerful melodies into visceral, hard-working pop songs. If was a particular standout. Wild Front played eloquent indie rock, made to soundtrack the final days of summer holidays, while Alloa outfit Vida headlined the stage with an inspired set of 90s-styled guitar rock. As if the full force of Richard Ashcroft was within them, the band’s energy was only matched by their fans enthusiasm and vigour, singing loudly and melodically and bouncing around like every song was their favourite.

The Main Stage line-up was equally varied and included a DJ set by former Spice Girl Melanie C. Cynics would think it a bit of a cop-out  having such a talented performer just spinning records from a big stage but the audience absolutely loved it. Not only was her tune choice – mainly 90s pop and dance music – on point but her mixing was precise, and the joy she clearly derived from being there rubbed off on the crowd, most of all when she threw in a bit of Who Do You Think You Are? complete with original Spice Girls choreography. It was a perfect party interlude after Colonel Mustard & The Dijon 5 had worked the crowd into such a state of exalted madness. Their uninhibited performance reached all corners of the park, bringing out everyone’s inner dancer, while preaching good natured social engagement, activism and tolerance. Peace Love & Mustard. Bouncy Ball lead into Dance Off which morphed into the friendliest mosh pit ever. The set was a positively jubilant and unifying experience.

Cast provided a no less buoyant set of hits in the early evening, engaging almost subconsciously with many early Britpop fans in the audience who found themselves singing along to Walk Away absent-mindedly while queuing for face painting and chips. Their set included a nostalgic mix of new and old songs that made you long for a time when rock bands all had acoustic guitars instead of drum synthesizers.

With guest DJ Gok Wan lining up among her fandom, singer Gabrielle debuted songs from her forthcoming album Under My Skin as well as playing her best loved songs like Give Me A Little More Time and Out Of Reach. On the new songs the London singer insisted fans could sing along even if they didn’t know the words by simply making them up; “that’s what I do all the time” she declared. Closing with her huge hit Dreams required no ad-libbing and the audience was well in tune and in position by this point.

There was only one final set of the night and it, along with the assembled audience, belonged to James. The Manchester band have often spoken about their affinity with Scottish audiences and the feeling of homecoming when they play shows north of the border and Saturday showed how vibrant and abounding the Scottish audience’s love for the band remains. Never being the sort of act to just roll out their hit parade at a festival, James’ set drew on recent albums Living In Extraordinary Times  and 2016’s Girl At The End Of The World, throwing in a few fan favourites and deep cuts for variety. Out To Get You set off an immense singalong right at the beginning and was followed by some pretty adventurous crowd expeditions by singer Tim Booth. “Health and safety is important, make sure everyone is up standing” he added after being consumed by the crowd during Say Something. Midway through the set a couple of so-called competition winners, Scott and Kelly, were brought onto the stage and given a microphone. Excitement turned to pure joy as Scott got down and proposed, and Kelly accepted. The band wished them well before launching into a rather euphoric Nothing But Love. There was talk of the set having nearly been cancelled due to Tim losing his voice 24 hours earlier but he recovered enough a compromise was reached; a stunningly stripped down rendition of Coming Home (Pt. 2) that seemed exceptionally moving as the darkness of the cloudy night fully set in. Winding towards curfew they threw in more popular choices in Laid and Sometimes (Lester Piggott) before skipping the encore rigmarole and playing out the night with Top Of The World and Come Home. Their ability to deliver an engaging, gratifying and enjoyable performance without conforming to expectations is what has made James an enduring live band for almost 3 decades and on this occasion they achieved such a performance, received by thousands of devoted fans in a field by a loch, overlooking a castle. It’s every bit a fairytale ending, at least on this particular Saturday night.

After Saturday night’s revelry the second day of Party at the Palace started somewhat reluctantly, in part due to the weather. Early showers delayed many but for those who braved the conditions, the reward was another day of high class musical entertainment.

Highlights from the Breakthrough Stage included Glasgow 4-piece 100 Fables blending electro-pop and heavier elements into a dynamic set of catchy songs that had the crowd moving; an energetic singalong to Black Dove‘s Fake ID which saw the first arm-in-arm pogoing of the day; Be Like Pablo‘s sun-drenched post-punk sounds conjuring up fantasies of palm trees and teenage angst; and South River Blues Band bringing generations together through their lively interpretations of modern and classic blues numbers.

Playing an upbeat set of anthemic pop songs from her 2018-released debut album Game Face, Anna Sweeney brought so much sparkle and groove to the early evening. Drawing comparisons to the songwriting of Taylor Swift and sonic parallels with the likes of Haim, Sweeney is by far the most radio-friendly act to grace the Breakthrough Stage over the course of the weekend. That’s no bad thing. The infectious melodies of Jealous and Seventeen linger well after her set is done. Edinburgh outfit Retro Video Club delivered nothing short of their best high energy rock show. The growing buzz around this quartet as one of Scotland’s must-see live bands is fair justified as they turn on a particular sweaty charm, seemingly without doing much more than plugging in their guitars. It’s good honest fun in any weather. Heading up Sunday’s Breakthrough line-up is The Nickajack Men. No strangers to the festival circuit now, they know how to work their audience with a set of cleverly crafted indie rock songs. Hints of psychedelia and country bleed through ambling guitar solos that never quite outstay their welcome, and Lewis White’s impassioned vocal spits and crashes through the occasional wall of sound. If punters didn’t walk away with a new favourite band it could only be because they’ve seen these guys before.

Over at the Main Stage devoted fans enjoyed a brilliant performance from former Joy Division and New Order member Peter Hook & The Light, whose vibrant set tapped into that back catalogue with earnest zeal. Angular guitars carved shapes over smooth, pulsing synth and bass lines and relentless drums. The energy from the stage could have easily filled a headline slot but it was equally nice to get an early dance session in before dinner.

Placed in the same timeslot as Cast played the day before, post-Britpop 5-piece Embrace served up a similarly nostalgic collection of songs spanning their twenty-something year career. Curiously, dropping their first big single All You Good Good People almost at the beginning of the set seemed to take a weight of anticipation off both band and crowd and lifted the atmosphere to something akin to light-hearted whimsy. The triumphant Ashes elevated the experience further as the crowd raised their hands in voluntary bliss.

Irish singer Imelda May changed things up yet again, mixing blues, soul and jazz influences into her unique style of pop music. Demonstrating immense restraint and power in her vocals she entertained and enchanted the crowd with songs including Human and Big Bad Handsome Man. She held the audience captivated as the daylight gradually dimmed.

As the darkness set in for good and the threat of rain prevailed anticipation reached its peak as the stage was set for the final act. Cheers erupted as the members of Texas took to the stage. Further rapturous applause greeted frontwoman Sharleen Spiteri and the Scottish singer showed pure delight at the reception. Her endearing smile radiated throughout as she engaged with her audience as near and far as she could see. Opening with I Don’t Want A Lover and Summer Son, the band clearly had energy to burn. The set was heavy on big hits, not because it needed to be but because Texas just have so many great songs to choose from, it’s hard to find a weak one in the mix. Let’s Work It Out and Tell That Girl from 2017’s Jump On Board were received with as much vigour as So-called Friend and Everyday Now. Spiteri’s allure as an entertainer is irresistible. She is honest, direct and humorous in a most natural way and between songs she connects with fans in memorable encounters that make every performance unique. If there was a script she’d be off it 99% of the time. Observing that Glen’s sponsored the festival she publicly noted a lack of vodka on the stage and the situation was resolved promptly. Later she singled out a man in the crowd wearing a bright yellow poncho and inevitably pulled him up on stage for a casual chat. It’s refreshing to see that kind of flexibility in an otherwise polished performance, bringing so much life and humanity to the concert experience. Introducing a stripped down In Demand as a love song after joking about her daughter’s posh London accent seemed almost too intimate, too familiar, but it was welcome on both sides of the barrier. Charging down the stage at one point during Inner Smile it looked like Spiteri might actually launch into the crowd, despite making several references to a recent back injury. Prefacing Say What You Want with the potential promise of one more song the band delivered a knockout extended singalong rendition of their 1997 hit single before retiring from the stage. They ultimately returned to finish off with a cover of Suspicious Minds, leaving the festival crowd on a resounding high. Did anyone notice the rain? What rain?

Gengahr – King Tut’s

Live music, Music Review

On a dreary Monday night in April Gengahr bring warmth and vibrancy to King Tut’s and, with two equally effervescent bands playing before them, the intimate crowd is treated to a steamy night on the dancefloor.

It’s not customary to talk up support bands but tonight is one of those rare nights of extraordinary value and every act is out to make the best impression. Indigo Husk bound onto the stage like children to a waterslide. Dressed as a bunch of early 90s skater punks they masquerade behind an air of casual inadequacy and slacker cool. But they’re actually brilliant! Energetic and technically proficient with a swag of clever upbeat tunes, delivered with an irresistible vigour and enthusiasm.

Low Island are a more politely polished but no less enjoyable outfit. Tidy drums and guitars layer over dense bass lines. At times it becomes a little synth-heavy but they really know how to work it, countering with passive vocal melodies that are almost too ambient to be lyrical. Lead singer Carlos Posada possess an effortless falsetto of enviable clarity that sparkles and illuminates their lush sonic landscape gently like a fine crescent moon. Hypnotic single The Whole World Tucked Away leads into Holding It Down effectively closing out the set just as it gets going.

Showing appreciation with all the energy they can muster this late on a Monday night, the crowd welcomes Gengahr like old friends. Both band and audience are in the groove right from the outset, which is never fully indie rock nor disco, but stands somewhere eternally sunny between the two. Bright, jangly guitars fall side by side with slick melodies and lyrics, at once delicate and beautiful as on the unfortunately titled Fill My Gums With Blood, becoming progressively more harsh and distorted. It’s a nice performance but something is missing; as the applause ends quickly after each song there’s an awkward pause as if some interaction is expected but never materialises. The songs alone are delightful and mostly joyous but the lack of banter renders the set a bit flat by the end of the evening. Even still, no-one can dispute the quality of the music and the band’s passion for playing it. Where Wildness Grows is simply stunning and would have been a satisfactory finale, had the band not wanted to play an encore. Instead the rough and raucous Carrion sends punters on their way into the night and back to the less inspiring reality of cool, spring rain.

Is This How You Love?

Heroine

I’ll Be Waiting

Bathed In Light

Before Sunrise

Embers

Dark Star

Pull Over (Now)

Mallory

Burning Air

Fill My Gums With Blood

She’s A Witch

Where Wildness  Grows

—–

Carrion

Sam Fender – The Garage Attic Bar

Live music, Music Review

Sam Fender may be only 5 singles into his recording career but he’s already a veteran touring artist, having supported the likes of Bear’s Den, Daughter, George Ezra and Ben Howard over the last few years. 2018 finally sees him heading out on his first ever headline tour in the UK and it should come as no surprise to anyone that he’s really good live. Really good!

Support for this tour comes in the form of fellow gritty northern singer songwriter Brooke Bentham. Her songs are brutally direct and affecting, her voice gentle with an underlying richness that lends itself to soaring expression. The dynamic plays and intimate lyrics keep at least those in front of the stage captivated, while a majority of rowdy punters at the back have no idea what beauty they’re missing.

The crowd has almost doubled in size by the time Sam Fender and his band pick up their instruments and the energy shift in the room is tangible. The set kicks off with fast-paced tongue-in-cheek anthem Millennial but without much space to jump around band and audience are forced to face off against each other and embrace the intensity of the moment.

Like Bentham, Fender’s lyrics speak straight to the issue, whether it be social inequality, political frustration, mindless celebrity culture or some dark hometown heartbreak, the emotion is raw without hyperbole or embellishment. “Let’s learn to talk without the fear of being heard” he calls on Start Again, a rousing cry for youth empowerment. Similarly straightforward, his music is exactly everything it needs to be, bold, balanced and especially infectious. There are hints of War On Drugs, Real Estate and even U2 in the guitar sounds but it’s in Fender’s warm, soulful voice that his true magic lies. A single microphone is all that’s needed to get these songs across and Fender is an almost prodigious vocalist; power, control and maturity in delivery are skills he’s already mastered at such a young age.

The set is tight with minimal chat, the occasional tuning struggle, and no hint of an expectant encore. Fender delivers a solid 11 songs in around 40 minutes. He introduces the final song of the night, Play God, the single that launched his most successful professional year so far, with genuine incredulity and humility.

As well as being longlisted for the BBC’s Sound of 2018, Sam Fender has been popping up on “Ones To Watch” lists all over the music media in recent months, and from this performance it’s not hard to see what all the fuss is about.