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Month: October 2018

Live Review: Beach House

Angelic synth sounds filled the Albert Hall as Beach House’s vocalist Victoria Legrand murmured “There’s a place I want to take you, where the unknown will surround you.” Like a siren luring sailors out into uncharted waters, obscured by the illuminated mist that hung eerily above the dark stage, Beach House captivated their audience from the first song.

Bursting onto the dream pop scene back in 2006, with their self-titled debut album, Beach House have long been a cult favourite. Seven albums later, the duo from Baltimore, USA have refined and perfected a mysterious sound for their latest album — 7 — which is both hauntingly beautiful and at times seriously sinister. Victoria Legrand oversees vocals and the keyboard while Alex Scally principally offers his skills on guitar and as a backup vocalist, with the addition of James Barone on drums and percussion throughout their tour.

After they began their set with ‘Levitation’, a popular track off of their previous album, ‘Depression Cherry’, it became clear this show wasn’t going to be an album-led affair. Instead, their set-list largely featured single releases from throughout their career and is perhaps a pleasant by-product of their sonically consistent discography.

If Bloom was about filling a large stage with loud sounds and live drums, catering to their crowd, and Depression Cherry was about a return to simplicity, with minimalist instruments and strong core melodies, then 7 is about removing all of their self-imposed limitations. There are songs with no guitar, with no keyboard, and tracks that feature so much production that their layers cannot be replicated live — 7 is about artistic expression.

Packed out to the rafters, the audience spanned young teens to professionals in their 30s; many people had travelled from far to see this sold-out show. Sat on the steps upstairs, watching down on the stage, you could feel every beat reverberating through your body, the lyrics indistinct, in and out of focus, but the experience, the sound, and the visuals were so immersive it didn’t matter. You didn’t need them to feel the mood that was being painted.

So much of the beauty of the set could be seen in the staging: the moments when the guitar kicked in and the stage went red, or when a spotlight shone down, like the beam of a UFO into the dark, switching between musician on each staccato keyboard note. In the colours, the lights, the patterns swirling over the crowd, and in the moments when Legrand hid herself by bending down low behind the keyboard, allowing the starry skies projected behind her to steal the crowd’s attention.

‘Dark Spring’, the opening track for 7, sounded so much stronger live, with its guitar intro proving monumental. Styled like a Tame Impala instrumental track, it exploded from the outset, beautiful yet jarring at times, fading to a siren as it finished.

‘PPC’ with its 80s feel movie soundtrack vibe, was a big crowd pleaser, and after that, each track played was received with raucous applause.  Orange lights illuminated the stage, pulsing in time with the lyrics for ‘Pay No Mind’, the bass growling and a double track of Legrand’s lyrics running, singing out a typically ambiguous Beach House chorus: “Baby at night when I look at you/ Nothing in this world keeps me confused/ All it takes/ Look in your eyes.”

This melancholic love was explored further in the ‘Teen Dream’ track ‘10 Mile Stereo’ with the ethereal echoing of “They say we will go far, but they don’t know how far we’ll go” / “It can’t be gone, we’re still right here” / “Love’s like a pantheon, it carries on forever”, sung out as white lights went totally crazy, overpowering the stage and the audience.

To bring their comprehensive set to a close, Beach House chose two of their most streamed songs from ‘7’. ‘Drunk In LA’, arguably the album’s centrepiece, told a tale of fading youth, as Legrand sung “I remember I am loving losing life”, melancholic in both sound and sentiment. But it seemed the band weren’t quite done, as they were soon lured back out to encore for two last songs. ‘Norway’ was proclaimed to be a “blast from the past” by Legrand, but nothing could rouse the crowd quite like the running drumbeat of ‘Dive’ — this really got them moving.

Sonically beautiful, artistically brilliant — what a performance! You’ll be hard-pressed to find a ticket that’s better value for money, since Beach House really delivered on all fronts. Such a strong show from the well-practised duo, who commanded the stage with great presence, and yet no ego, throughout. We’ll be back for album 8, that much is for sure.

10/10

Live Review: Goat Girl

One of South London’s biggest emerging bands, Goat Girl, played Manchester’s legendary Gorilla on the 23rd October.

Consisting of four girls, the band have drawn attention to themselves with their interesting music on topics ranging from the UK’s political climate to creepy men looking at them on the train. As well as this, the band also have ambiguously amusing alter egos which they are known by: singer/guitarist Lottie ‘Clottie’ Cream, guitarist LED, bassist Naima Jelly, and drummer Rosy Bones.

The supporting acts for Goat Girl were rather more weird than wonderful, with American-based hip-hop/rap artist Sneaks providing the crowd with some incredibly wacky tunes along with some great dancing and amazing stage presence. Despite playing completely the opposite of the type of music you would hear from Goat Girl, she still managed to get the crowd very excited and geared up for the main event.

After the jagged prelude of ‘Salty Sounds’, Goat Girl came on stage in their true grungey fashion playing their murky and politically sparked song ‘Burn the Stake’. The setlist continued in an order almost identical to that on their acclaimed debut. Although they could have been slightly more courageous with their setlist, they do have an incredible flow of songs on their album so it’s hard to fault them for sticking with this order.

It did seem to take a couple of songs for the quartet to really get into the gig. Lead singer Lottie ‘Clottie’ Cream carried the band, however, and guided the crowd as the set progressed. Cream definitely seemed to enjoy the gig ever so slightly more than her fellow Goat Girls with the rest looking, admittedly, fatigued on stage.

However, the quality and sharpness of Goat Girl cannot be faulted for a second, especially due to their music being so finely tuned with never a note wrong or timing off. This makes their songs such as ‘The Man with No Heart or Brain’ even more impressive to hear live considering the time changes and complicated guitar riffs throughout. Seeing them play live makes it even more evident just how musically gifted this young group of girls are.

One standout song at the gig had to be ‘I Don’t Care Pt.1’; this song stands out if only due to the amazingly harmonious vocals from Lottie ‘Clottie’ Cream and lead guitarist LED. Other standouts include ‘Mighty Despair’ and ‘Country Sleaze’, which brought the gig to a riotous ending and left the crowd begging and cheering for an encore. Sadly, the crowd did not get what they wanted. Perhaps it would have made for a better ending to play their cover of ‘Tomorrow’ by Bugsy Malone, and then an encore of ‘Country Sleaze’.

All in all, Goat Girl are an incredibly talented and somewhat understated girl band who perfectly reflect this in their live performances. Seeing them play at Gorilla was an absolute privilege.

8/10

Live Review : The Orielles

The second night of Manchester’s Words and Music Festival was bigger and better than ever with a lively, excitable atmosphere at the legendary Night and Day café. It seemed that despite the sad passing of Night and Day owner, Jan Oldenburg, nothing would stop them. As the room began to teem with people, it was announced that Jan’s wishes had always been to put on quality performances to sold-out shows — I don’t think he would have been disappointed.

We were eased gently into the gig with the dreamy tones of Laetitia Sadier as her slow, relaxed sound washed over the crowd. Whilst the dream-like qualities paired wonderfully with her quiet vocals this sound was a little at odds with the lively atmosphere. Her set featured a melodic looping of sounds that was admittedly pleasant but in no way groundbreaking. It was enjoyable to hear without a doubt but an interesting choice compared with the energised four pieces that were to follow.

The entire building seemed to buzz with a tangible enthusiasm and anticipation for what was to come. The Orielles took to the stage with an effortless whirl of energetic, audio static filling the room as they launched furiously into their opening track. The magic continually flowed as the temperature in this heavily decorated wonderland continued to rise and reached a sharp climatic fever as they broke into “Let Your Dogtooth Grow”. A song which sent the crowd into a flash out frenzy, my cup of water thrown from my hand as the surge of bodies burst forward.

The Orielles seem to be blessed with a unique mix of vibrant musical flare and pure, untamed energy that melts through their performance. Their new keyboard player, Alex Stephens is a welcome addition to their line up, providing something very different and brightly electronic compared with their old school, guitar-based sound.

With a cheeky exchange of dialogue, their bassist Henry launched his paper plate fan into the crowd. Following this, the band moved with renewed energy into “Sunflower Seeds” a psychedelically flickered track that evokes a festival imagery within the mind’s eye. For me, it was very reminiscent of their incredibly fun set in the Leadmill tent at Tramlines Festival 2018. Finishing on a high with “Sugar Tastes Like Salt” they sent the room ablaze, leaving the crowd with little more than a blur of the vibrancy they had just experienced.

A very satisfying gig that delivered and thrived on punchy psychedelic style and missed the mark slightly with the supporting acts.

6/10

Review: Keisha Thompson: ‘Man on the Moon’

Keisha Thompson’s magical one woman show ‘Man on the Moon’ landed at STUN Studio. Through a mixture of storytelling, looped sound, singing, poetry, and spoken word, Thompson and director Benji Reid created the best piece of theatre I have seen in a long time.

‘Man on the Moon’ tells the story of Thompson’s fragmented relationship with her father, who has communicated with her only through sending books in the post since she was a young child. This resulted in confusion surrounding her own identity. The search to understand it was delicately handled by Thompson — questions were asked to prompt an analysis of the factors we use to form identity, but there was enough room left to make the journey relatable.

The piece explored the way a childhood memory can hold two meanings: being either childhood nostalgia or an unsettling memory that comes from an adult perspective. By flicking back and forth between memories of receiving books, and her anguish at the realisation that she does not know her father, Thompson beautifully captured these contrasting meanings. I really felt like I understood what she was going through.

Thompson gave a stellar performance, deploying a calm and conversational style that made it feel directed at an individual than at a large audience. I cannot remember the last time someone held my attention completely for an hour and a half. The show was particularly striking when Thompson created the world of the narrative. In a particularly memorable section depicting the characters you encounter on a bus journey, there was a shared understanding throughout the theatre of a situation that we had all been in. This connection occurred because of the honesty in her performance as she reminisced. I wish there had been more sections like this.

My only criticism is of a sofa which became a ‘spaceship’, releasing smoke and pushing itself off the ground. It was a bit much for me. However, it did create a hopeful, yet heart-breaking moment where Thompson sat on top of it and planned a trip to the moon with her father.

What is remarkable about this play is the way that such an unusual story about a relationship based on communication via books can be told in a way that feels relatable. There were certain parts that everyone could understand, such as a book on ‘healthy sex’ acting as an alternative to ‘the talk’. Thompson and Reid’s genius was knowing which parts would resonate with the audience and inviting  us to join Thompson on every step of her journey. It was an incredibly touching piece of theatre that I would gladly see again.

Review: ‘Death of a Salesman’

Arthur Miller’s play, ‘Death of a Salesman’, first premiered in 1949, but seemed pertinent as ever in this new production directed by Sarah Frankcom at the Royal Exchange Theatre. The production was staged in the round, resulting in an intense three hour-long persecution of the American Dream and the relentless pursuit of capitalism.

The supporting cast all stunned in this production, bringing the play to life brilliantly. I found Don Warrington’s performance as Willy Lomas less effective in the first half of the play, seeming a little vocally weak. However, Warrington really came into his own in the later scenes of the play when Willy’s mind clearly begins to deteriorate before our eyes. The absolute vulnerability that Warrington brought to the role was heart-breaking to watch, leaving me feeling deeply sympathetic for him, despite my dislike of the misguided, abrasive character at the beginning of the play.

The sons, Biff and Happy Loman, played by Ashley Zhangazha and Buom Tihngang respectively, really stood out, very effectively portraying flashback scenes, as well as the 1940s period. Notably, Tihngang provided much-needed comic relief throughout an otherwise very dark and tense production.

Although Miller’s work seems very representative of a past era, this production, though set in the original period, really emphasised the relevancy of the issues discussed in the play. Along with the unyielding focus on the American Dream, something that will perhaps always be at the pinnacle of American society, a huge sense of patriotism was implied. The current American president being a supposedly successful businessman, whose every wish is to ‘Make America Great Again’, only further imbues this narrative with a sense of dread and inescapability for a current audience.

It has always appeared to me that, based on the endless focus of American culture on the subject, the modern American high-school experience is something deeply traumatic that people obsessively return to years after their graduation. While I thought this was a more modern phenomenon, this adaptation of ‘Death of a Salesman’ made it abundantly clear that this is perhaps a trope that has always been and will always be a feature of American culture.

The staging of the play in the round meant that actors encircled the characters at the centre of the stage and really successfully built the pressure of the play to a boiling point. This staging was absolutely crucial in emphasising the Lomans’ desperate need to perform the roles of successful and happy middle class Americans.

I found the lighting effects and sound effects to be a little unsubtle throughout the production, acting as clear signals of impending doom at times. However, the use of foliage, hanging over the entire production and finally shedding yellowed, withered leaves in the final scene was a particularly clever piece of set design. The tree constantly reminded us of the pastoral, natural and anti-capitalist alternative that the family shunned in favour of the destructive and unachievable American Dream.

Live Review: The Chats

There’s something special going on here. Something exciting, rising in a seismic wave, pulling in anybody in its (admittedly narrow) path. Its name? The Chats.

This is a band who have managed to completely sell out a full UK tour on the first time they have ever even touched British soil. Tonight’s Manchester gig, incidentally, was initially supposed to be held at The Star and Garter, a mere 200 capacity pub. The chosen location seemed typical of that of a non-native band with not even a remote mainstream reputation. However, a quick sell-out led to the show more than doubling its size by relocating to Rebellion and then, upon the tickets of that also being snapped up straight away, finally settling at Academy 2, a venue that hosts 950 attendees within its walls.

Among these attendees you spy members of Manchester guitar outfits who have picked up on the hype surrounding their Australian equivalent. There are ‘70s mullets galore on the heads of young fans identical to those of the self-declared ‘pub-punk’ band. Aside from cramming in an additional 750 fans, there was another benefit of the relocation from The Star and Garter’s 18+ realm. Several kids, some of whom can’t be more than four, are gripped to sides of their punk parents, itching to catch a glimpse of the stage above the sea of much taller heads.

In an ode to Manchester, and perhaps their own homeland what with the song’s lyrics of cricket, The Chats walk on to ‘Dreadlock Holiday’ by Stockport’s 10cc. Their own songs are no less specific and obscure in theme. ‘Bus Money’ is a tale of purchasing useless things with the change you designated to get you home, most beautifully captured in repeated shouts of “All I need is a buck or two!” There’s even a song named ‘Mum Stole My Darts’ and again its literal lyrics don’t even seem to be a metaphor for something deeper. It becomes clear that the unashamed ridiculousness of these songs just makes them so much more fun.

“This is the first gig I’ve ever been to where the whole crowd is a mosh pit,” comments one of the mellower, and evidently taken aback, members of the crowd. In a demonstration that the presence of The Chats has the ability to instigate a droll atmosphere, another, quite less seriously, shouts “play ‘Wonderwall’!” in the stage’s vague direction.

The first of these two contrasting takeaways, though, certainly remains worth noting. From the band’s first step on stage to the last moment of the show, from the barrier right to the bar, the crowd is untamed. Even new, unreleased tracks spark a joyful fury of movement that rests for nothing. Despite this, there is an air of waiting for the band’s biggest song – the one that most of the crowd were probably introduced to the Queensland trio by. ‘Smoko’, a punk colossus that went viral on YouTube for its comedic nature and stupendous quotability, somehow sends the crowd wilder.

Perhaps commenting on the venue in which he found himself playing this evening, lead singer Eamon suggests to the fans before him that “you shouldn’t go to uni, you should drop out and start a shit band like us.”

If doing so gets you to The Chats’ position in just a couple of years, his claim is nothing less than utterly convincing.

Rating: 8/10

I spent two hours with a pro gaming coach: here’s what happened

Back in August of this year, one of the gaming industry’s more intriguing stories broke. With vaguely sanctimonious headlines like, “Parents are paying for their kids to get ‘Fortnite’ lessons so they can win more and level up,” and “Parents are paying tutors to stop their kids getting owned at Fortnite,” the mainstream media certainly had their own ideas about the dynamics of businesses like ‘Gamer Sensei’ and ‘eCoaches,’ companies who employ gaming coaches as professionals to tutor people in the art of online war.

With that in mind, I contacted Gamer Sensei to set up a lesson with the intention of finding out not only how coaching could help me improve my frankly sub-par Fortnite skills, but so I could talk to a real coach about the reality of coaching, what it was like, and whether the story painted by the likes of CBS sports and The Guardian was entirely accurate.

Enter stage left Harry Darwin – a.k.a. Darz, or DarzFn – tutor for Gamer Sensei and Fortnite professional. Harry, one of the more premium offerings of the site, has a formidable gaming C.V: he is a signed and salaried professional Fortnite player, winner of the BP Pro FunCup, and, according to Fortnite tracker, is inside the top 10 players globally for K:D (kill/death ratio).

Harry started off his life as a competitive gamer by cutting his teeth on Call of Duty game battles before moving on to CS:GO, then PUBG semi-professionally, before turning professional with Fortnite.

“I went professional with EIG,” said Harry. “It’s a fairly new team funded by Moussa Sissoko and a few other professional footballers.” He mentioned Thomas Lemar, and a Sunderland player who he couldn’t quite recall. “It’s becoming quite common,” he commented, “a lot of them are invested in eSports.”

photo:Twitter

Whilst this conversation was taking place, Harry and I had entered a duos match so he could assess my skill level. He took me through some of the basics: where to land to avoid an early death, how much material I should pick up (he suggested a princely 2000), what loadout to carry (a pump shotgun/SMG switch), and emphasised the importance of getting to natural high ground as early as possible.

Once we left the safety of the factory we had landed in, I started to feel the heat of entering my first ever crossplay lobby complete with PC players, and was summarily sniped. Harry won the game at a canter, before telling me a little more about how he structured his sessions.

“In a normal lesson (ours was condensed due to our limited time), we’d just play duos for the first hour. In the later sessions, that’s where we’d start looking at mechanics.”

“In Fortnite, the main body of coaching comes from playgrounds, from teaching you build mechanics. In Fortnite, building is the thing that you want to get the best at. It’s not always the best shooters in this game; it’s always the best builders that are the best players in the world.”

Without further ado, we moved to playgrounds (a custom lobby without any enemies and with enhanced material pickups) to work on a few defensive build strategies. Harry emphasised the importance of building once again.

“Fortnite is one of a kind. There’s never been a shooter like it, so players come from something like Call of Duty, and if they were to get shot at, their first reaction is turn around and shoot back.”

“We want to change your mindset from turn and shoot, to turn and build; we want to build first and shoot later.”

After we worked on some more building techniques, such as how to build effectively while rushing and the 1×1 edit out onto double stairs, I asked Harry what kind of tutees he tended to get, fronting my question with the suggestion that the vast majority were primarily a younger audience.

The 1×1 edit out to double stairs. photo:Mancunion

“There’s no average student,” said Harry. “I’ve coached a lot of younger kids that are just trying to improve and get better than their friends; I’ve coached teenagers just looking to improve; I’ve coached adults. I’ve also coached semi-pros who are looking to take it that next level further and take it pro.”

“I don’t think gamers have a typical age group, and the people I coach are just typical gamers. There’s no ‘vast majority’.”

“I’ve coached so many types of people.”

He also told me about what he gets out of the job on a personal level, saying, “coaching is rewarding. Seeing clients progress and give amazing feedback gives great job satisfaction.”

As we continued to work on the fluency of my building and I started to erect some semi-decent, semi-fast ramps, Harry remained encouraging about my potential. Even though the speed of his building was quite bewildering in comparison to mine, he made sure I didn’t feel he was judging my ability (or lack thereof), and explained this was an important part of his role as a tutor.

“A large part of what I do is about making feel people feel comfortable. Especially the kids, they can be quite nervous coming into it and it’s up to me to build a rapport and make them feel comfortable.”

“You’d go and play football as a kid and pretend to be Steven Gerrard or someone; these kids are looking up to Ninja nowadays, so I think that comes into it. When they’re playing with a pro gamer, there might be a few nerves because of that because they’re playing with someone who does their dream job.”

The link between professional sports, eSports and coaching became increasingly apposite as our conversation continued. Indeed, for someone who professed to not following football because “it was hard supporting Ipswich,” he admitted, “It (pro gaming) is a lot closer to mainstream sports than I thought. Since I started actually being a pro gamer, I’ve realised how close to sports it actually is: you’re training daily, and the contract you sign – if another team wants to buy me I’ve got a buyout fee, and negotiation windows at the end of my contract.”

“It’s kind of the same industry, just behind a computer instead.”

Harry drew a few comparisons between training with EIG and the routine of a professional athlete, speaking in particular about his own team psychologist, a member of the EIG coaching staff.

“He’ll say, ‘you need to try and keep a good sleeping pattern’, and will tell us the importance of getting up and working out before you start gaming is, how important your break times are. He says it’s really important to get your blood pumping before you game, otherwise you’ll be nowhere near as effective.”

Harry revealed that this was something he tried to impart onto his students, suggesting the idea that eCoaching wasn’t always just about what happens in-game.

“You need to have a balance of everything you do in life, especially gaming more than other things. I like to keep a balance; I need to go out and socialise, go to the gym, take breaks, get away from screens.”

“It’s very important to teach people the importance of having a balanced life and staying active and healthy, making sure you don’t sit in front of a computer screen in a virtual world all day.”

“Especially the semi-pros that are looking to go pro, I always tell them that it’s important to be active and healthy because if you don’t have a healthy body and mind you won’t be as effective in the game, which is stuff I’ve learned from the team psychologist at EIG.”

We then worked on another building structure called the ‘90 degree spin’ that was so important Harry said that, “there are players that judge other players on how good their 90 degree turn is.” The spin, a name given because of the motion needed to make it, is actually a large upward tower build that combines building speed and structural integrity, being maximally difficult to destroy relative to the number of pieces it requires.

photo:Mancunion

Harry, who modestly understated his otherworldly proficiency at this maneuver to being down purely to “hours and hours” put in, was keen to promote the need of practice alongside games coaching. As Harry put it, “Learning how to perform these moves properly really accelerates your growth and ability to play the game.” He repeatedly told me a lot of learning this was about “muscle memory,” in programming your mind to work in synchrony with your fingers. 

“A few people you coach do hit a wall, and can’t really progress further. To counter that, when I’m coaching people, we might do a two hour session, run over some things, leave it a week or two, and then come back to it once they’ve practiced in the game.”

It made sense, too. Whilst I now knew exactly how to maximise my building efficiency, my speed was still way off, a fact demonstrated by Harry’s obliteration of my time over the ‘editing obstacle course’, on which he outpaced me by 25 seconds to my 1 minute 35 seconds.

Again, this reinforced the sense that eCoaching was much closer to its grass-based variants than I had previously realised. I began to realise that what Harry was trying to instill in me was not just foundational maneuvers, but a desire to practice, to work at my game, and to test his strategies in real life situations:

“Because it’s so competitive, it’s not like learning the piano. It’s a multiplayer game; you’re against an opponent. Learning the piano, you’re just facing yourself; you can always progress. With games that are competitive, you’re always playing against someone else.”

Harry had told me that he didn’t really like single player games, and I think this was a large part of why. In single player games, you are, to all intents and purposes, playing against yourself, bettering your skills in order to overcome the fixed skill level of the AI rather than the erratic variables of an online lobby. Coaching, like pro gaming, Harry explained, was tethered to this competitiveness and dynamism within eSports, and the huge growth in the sector, saying “coaching has a bright future in esports and casual gaming. With GamerSensei taking it mainstream, it’s starting to not only be beneficial to professionals.”

What emerged, ultimately, was really quite surprising. It started – quite bizarrely – with Moussa Sissoko, of all people, and trickled through Steven Gerrard and sports psychologists right the way down into the lesson. What I left my two hour lesson with Harry Darwin with was the sense that the terms ‘professional gaming’ and ‘professional eSports coaching’ were not misnomers at all. Rather, they are accurate summaries that encapsulate an industry that is growing exponentially, year on year, to resemble its sporting counter parts.

In Conversation with Miles Kane

Miles Kane, the glamorous indie rocker from The Wirral in Northern England, recently released his third solo album. The refreshing yet nostalgic testament to the mod-rock scene is filled with a wave of upbeat guitar solos, beautifully crafted lyrics, and easy-going melodies, perfect for any mood.

For many songs on the new album, Coup de Grace, Kane’s Scouse accent compliments the sounds of the acoustic guitar, strummed perfectly in place to the baseline and drum beat.

The title of the album itself means ‘the final blow’, which came about after the eponymous song was written; the hypnotic baseline to the tune was discovered whilst “jamming with the boys” in New York.

Surprisingly, Kane has a love for wrestling at the moment, making friends not only with those in the “cool gang” of the music and fashion scenes but also with professional fighters, one of whom featured in his video for ‘Cry on my Guitar’. The video — which features professional wrestler, Finn Balor, fighting Miles Kane — shows him using his finishing maneuverer that he has named ‘The Coup de Grace’; dramatic and cool, perfect for the title of an indie-rock album.

Kane relies on the process of writing as a “punk therapeutic mentor” to discussing his emotions out loud. Writing with the likes of Jamie T and Lana Del Rey on this album has proved that Miles has gained the utmost respect from big names in the music industry.

Having escaped to Los Angeles last year to compose a new album, however, Kane struggled to find a muse to shape his thoughts. After visiting Jamie T, fellow indie rocker, at his show in California, they both set aside time after a series of long talks to put pen to paper.

Mingling with fellow rock stars seems to be on Miles’ agenda quite frequently, thus sitting on the sofa, drinking beers with Jamie T made Kane question whether there was any connection between the two on a work level. Following a period of frustration musically, Kane exposed his half-written, unfinished pieces to Jamie, eventually completing the songs, “Silverscreenand ‘Coup de Grace’, with him — supposedly the sense of accomplishment “turns him on”.

Having seen Miles Kane perform headline shows for the NME Awards, acoustic solo gigs at in-stores, and supporting Arctic Monkeys at live shows, I questioned what could possibly be a breath of fresh air for his upcoming tour. Kane arrogantly reassures his electrifying sideband that when he performs “no one can touch” his “explosive” energy. The amazing year he’s had will show when he performs his new songs on tour; not forgetting his old bangers though — Kane loves to be the man fans adore.

Manchester is a place very close to Kane’s heart, standing up there with one of the best and “wildest” cities to play. The first of the Manchester Academy gigs has already sold out, the first out of any of the dates on his tour to do so, which has led to a second date being added — making it the only place to have two performances by the man himself in the entire country.

When talking about any future plans (including talks to work again with Alex Turner in The Last Shadow Puppets), Miles says he wants to stick to his day job for a while, writing and releasing some B-sides.

In a Mancunion exclusive, Kane has stated that a surprise is along the way in a couple of weeks, so keep your eyes and ears peeled!

Catch Miles Kane on tour this November 23rd and 24th at Manchester Academy 1.

Live Review: Franc Moody

The London based dance and funk collective Franc Moody recently played The Deaf Institute on the second night of their UK tour. I had been a fan of Franc Moody for a while now but discovered once they were up on stage, to my surprise, that Franc Moody does not exist. In fact, it’s Ned Franc and Jon Moody who lead the collective (I’ll leave it to you to figure out where the name came from). Opening for them was Derbyshire group Patawawa who came with a wild and energetic performance; the crowd was only doing a casual sidestep for their set, but their music was a lot of fun.

Franc Moody stepped on stage promptly, six of them on this night, and with them a beautiful array of instruments. Jon Moody was seen often switching between oboe and keyboard throughout the night. I was impressed to see that almost every sound in their complex and layered recordings was performed live. They opened with one of their hits, ‘Pheromones’, and it was a tight and powerful performance from the get-go. These songs had a slow, bass-heavy build up that exploded into funky rhythms, the likes of which I had never heard live before.

The whole band had an awesome appearance and stage presence, with Ned Franc looking particularly cool donning a buzz cut and a long beige trench coat. It was refreshing to see two women in the group as well, and they produced some really fabulous basslines and rhythms.

When they started playing it elevated the spirits of everyone around — it was impossible not to dance. To paraphrase Kendrick Lamar, the funk was within us. They transitioned quickly between songs, playing some of their new tracks like ‘Make You Smile’ with seemingly effortless precision and fluidity.

Halfway through the set we were told it was going to slow down for a second, and with that Jon Moody whipped out his oboe to perform a slow, slightly psychedelic piece with Ned on the keys. It was a total change of pace and confused a lot of people, but the band was really just having fun.

They returned to their pulsating, dancey form soon enough, and in the latter half of the set most songs led into extended jams that really displayed the full talent of the band. Moody brought out a keytar (!) in these jams, adding another layer of showmanship with his ability to dance and play simultaneously.

They let the audience know ‘Dance Moves’ would be their final tune but as it finished, the group almost immediately asked if we wanted another song — one of the shortest times between the “end” of a gig and the encore I’ve ever seen. It was nice to see them not drag on the worn tradition of completely vacating the stage for a few minutes. Franc Moody was a powerhouse performance that exceeded my expectations — I would love to dance to those funky beats again.

9/10

Live Review: Art School Girlfriend

Underneath the moniker of Art School Girlfriend is a quartet of long-time friends and collaborators. The spotlight here, however, is on Polly Mackey — former member of four-piece shoegaze band Deaf Club. After taking time off for a personal musical cleanse, Mackey debuted her first EP Measures back in 2017 which turned the heads of underground music junkies. With her second EP Into the Blue Hour, Art School Girlfriend draws you into a feeling of overwhelming insignificance, especially with its standout track ‘Distance (Blank)’; the single embraces the feeling of claustrophobia with intense drums and unsettling melodies.

Mackey’s background has clearly weaved its way into her songwriting. In conversation, she admits how nature often finds its way into her lyrics, sometimes to her own surprise after re-visiting previous work. Her time living in the small seaside town of Margate clearly influenced how she portrays space, atmosphere, and isolation.

Despite how often her music references nature, Mackey seems to approach songwriting with a precise and almost scientific way of experimenting with new sounds. Whilst part of Deaf Club, she hoped for more creative authority when recording; with her now greater control she finds she enjoys her time, as a self-proclaimed perfectionist in the studio, much more. Mackey much prefers to release music when she deems it ready instead of adhering to deadlines and speaking with her makes it quickly apparent she is devoted to ensuring her sound suits both her and the project.

Taking time out from music after the dissolution of Deaf Club was important for her to learn more about herself until she felt the time was right to start writing again. The hiatus was not only from song-writing but from music in general. Mackey found that songwriting for too long had corrupted her ability to enjoy music any more. She could no longer attend gigs or listen to albums without over-analysing or constantly borrowing new ideas for herself. Returning as Art School Girlfriend, she feels a physical and mental sense of separation between the two projects.

The return to songwriting and touring after this lull makes one point clear: pursuing her talents in music is not just something she wants, but something she needs. This desperate necessity for music is apparent as you watch her drift and sway into the atmosphere of the songs. Her stickler ways in the studio also creep their way onto the stage, hoping to provide an alternate experience to the record. Where her EPs are sharp and pure, the live performance was organic and packed with layers. In the recently christened venue of the YES basement, Mackey’s voice was heavenly. The performance had the intimacy of an NPR Tiny Desk Concert, as well as the same hushed awkward moments brushed quickly away. This, however, in no way meant it lacked any punch; Art School Girlfriend still managed to cut deep on stage.

Like her music, the name Art School Girlfriend was also the result of lengthy deliberations. This is commonly thought of as the hardest part of any project since it must represent both the writers and the sound behind it. Mackey seems proud of the name given that it has garnered so much attention. Identity seems important to her; despite the fact that the name is not hers; the name arose from her girlfriend, who did indeed go to art school.

The future looks bright for Art School Girlfriend. Mackey hopes to take advantage of the dark and gloomy winter months by hibernating in the studio to record her first album which she plans to release in the upcoming year. It comes as no surprise that Mackey finds her song-writing much easier in the winter, especially for this project. More details can be found here.

8/10

In Conversation with The Manor

The Manor are a three-piece rap group, born and raised in South London just over 10 years ago. Their style is unlike any other, representing ‘lad culture’, social inequalities at home, and bringing a refreshing alternative to the ‘xanned-up’ mumble rappers of today.

While waiting by the backstage door of The Deaf Institute, I surveyed the punters that were slowly filling the worryingly small dance floor; I had seen videos of their previous gigs, and I felt my fear was justified. This, after all, was the same fan-base that had set the record for the most beer sold in a night at the O2 Academy Islington and required police action to disperse after a sold-out gig at Koko in Camden.

The collecting audience was made up of all of God’ s rich tapestry: the 45-year-olds who had presumably told their wives they were working late, the 16-year-olds coughing on their appallingly rolled ciggies, and of course the short back and sides, Stone Island flaunting ‘boiz’. With the insane levels of merch on display, and the audible anticipation you would expect at a Justin Bieber concert, I was lead up some stairs to meet the group.

Johnny Dutch and Danny Graft have been friends since school; inspired by the grime artists of their youth, they would spend “hours taking the piss”, insulting each other to a beat, and forming their real, down-to-earth style. Scotty Stacks, the third of the trio, “slipped in” after his cousin made a backing tracking for the other two; all it took was an introduction at a party, and the rest, as they say, was history. Unfortunately, Scotty couldn’t make the interview on account of his successful business — Stacks by name, Stacks by nature.

Their success is a testament to what can be achieved when young artists put their minds to “not really wanting to get real jobs.” While at university, they were inspired not only by the wealth of UK rapping talent of the noughties but also the indie-pop scene with bands like “Razorlight and Babyshambles.” This lead to performances in small venues for several years, until, in 2011, they dropped their first release ‘Welcome to The Manor’. Since then they have built a hugely loyal fan-base, and had the “freedom to not be in one place”, touring regularly across Britain and Europe. They could be of inspiration to any of the musical talents studying at Manchester at the moment, undecided as to whether to commit wholeheartedly to this incredibly tough industry.

They have plans for a new album next year, with the goal being more of an ‘indie-wave’ sound. As many of their songs are “soundtracks to a holiday”, the majority of their writing occurs in the winter months. They are spurred on in this period with “inspiration from the summer” and their manager consistently asking (with encouragement) “where’s the music?” Their lyrics are so incredibly relatable, that while on the tube a few months ago, Johnny was stopped by a 65-year-old man, who said he loved what they were doing and to “keep it up.” They rap on a range of topics, from the joys of the weekends to familiar female relations; the basis of the latter seems slightly shady, with Danny telling me he had “more stories about how I’ve fucked it up.”

I left their changing room baffled by how such normal, friendly guys could be such superstars to their adoring fans. Then the music started.

Picture being placed in the England stands just after a World Cup final victory, except no-one has any tops on, and it’s 35 degrees, you’d come to about halfway to the experience I had. There were arms, beer, and man boobs flying everywhere — an every-man-for-himself deathmatch soundtracked by their music. I should note, my description of the sheer quantity of male parts is not accidental, as the female fans could probably be counted on two hands and maybe a foot.

The energy in the crowd was unparalleled to any concert I’ve seen before, with the three showmen on stage whipping them up into a manic hysteria. The love they gave out, was doubled in reply, every one their lyrics, echoed back two-hundredfold. Whatever voodoo frenzy they had invoked clearly worked, as the dance floor stayed rammed for the full hour-and-a-half that they had on. It was hardly surprising that the bandmates’ mums, who had “insisted on buying tickets” to the Roundhouse in London, had made this their only commitment to seeing them.

I would say there is an important distinction to be drawn when it comes to The Manor: listening to them can be done by all, but going to their gigs? That takes balls (figuratively and slightly literally).

9/10

Live Review: Novo Amor

Before seeing Novo Amor, I had just reviewed a poetry event. Hearing these new poems for the first time ever, I realised the privilege of familiarity and how this links so heavily with how one enjoys things. Despite this being Novo Amor’s first tour across the UK, USA, and Canada, familiarity with his music makes a world of difference in terms of experience and enjoyment. This Welsh multi-instrumentalist, Ali John Meredith-Lacey, has produced music since 2012 winning a consistent fan-base through his soulful, indie sound, and minimalistic lyrics. The moniker, Novo Amor, comes from channelling a break-up into something more creative — and it certainly makes for good material.

The night begun with Novo’s support act in the form of Anna Leone, a rising Swedish singer-songwriter who performed a few songs from her new EP ‘Wandered Away’. Her track ‘My Soul I’ — the first song she wrote and released – displayed Anna’s impressive control of both emotion and huskiness in her voice and her next, ‘I Never Really’, followed suit. She performed her entire set solo, with just a guitar, showcasing her quietly striking confidence. Anna’s performance was an ethereal experience, and I’d really recommend listening to the Mahogany sessions of her songs on Youtube so you can appreciate the talent she possesses.

Novo Amor then appeared alongside frequent collaborator Ed Tullett, as well as an entire band of violins, pianos, guitars, and drums. Even from the back of the room, the entire room reverberated. He began with ‘Birthplace’, the eponymous single off his new album. Normally singing in falsetto, Novo utilised his natural register in these performances, adding an interesting dimension to a banging tune.

He performed two new singles, ‘Seneca’ and ‘Repeat till Death’, both of which are mournful, restrained ballads that are incredibly stirring. When performing his more well-known songs, ‘Anchor’, ‘Birthplace’, and ‘From Gold’, the audience were noticeably more receptive — gasps escaped as Ed Tullett’s voice shone throughout ‘Anchor’, with harmonies building up to the chorus as the violins and drums were unleashed across the room.

There is something eerily similar about Novo and Justin Vernon, the lead member of Bon Iver. Novo’s music acts as an avenue for processing a break-up, with Vernon raising similar points about his first album. This is not to reduce Novo Amor to a comparison but the similarities run rampant — the artwork on his singles, the minimalistic lyrics, the layered voices. In other news, a lot of people came in couples or twos — perhaps Ali’s music is a good bonding exercise. Overall, Novo put on an emotive performance that resonated with all who were in the crowd. Regardless of his similarities to his contemporaries, sometimes familiarity is the most comforting feeling.

7/10

Live Review: Gang of Four

Gang of Four are, undoubtedly, one of the most influential bands in punk history. Rolling Stone gave their debut, Entertainment!, a spot as the fifth greatest punk album of all time and Pitchfork Media called it the eight most important album of the 70s. From R.E.M to Nirvana, their influence has shaped a vast amount of the music we have listened to and loved for 30-40 years now.

However, it could be said that the band’s current iteration is drastically different — only one of the original four members, Andy Gill, remains. With this in mind, I was initially uncertain as to how the performance would play out, and unfortunately, the first couple of tracks left me unconvinced. There almost seemed to be an invisible barrier between crowd and performer, an elephant in the room reminding us all that this wasn’t the original Gang of Four who tore across the British music scene back in the day.

The Ruby Lounge is not a large venue by any means, and for me, it felt confusing that a band with so much legacy would be limited to playing there. It cast doubt in my mind about what I was about to see — I feared it could only be sad seeing a band that was such a shell of its former self — thankfully, their performance turned it around. It seemed the initial awkwardness was not a lack of heart or passion on display from the band, but rather shaking a few cobwebs off. The atmosphere in the room slowly built, and although Gill is not as spry as he may have liked to be, the amount of movement and energy coming from the rest of the band more than compensated. With a beer in hand, frontman John Sterry prowled around the stage, his voice a truthful imitation of Jon King’s original singing. Bassist Thomas McNeice was lively throughout as well, thumping out countless iconic bass lines seemingly without breaking a sweat.

Fantastic renditions of “Damaged Goods” and “I Love a Man in Uniform” came through. I realised: it’s not the original group, but does it matter? I doubt I would have felt as strange about the performance as I did if they were simply an outright cover band; if anything the presence of Gill should be adding legitimacy to the performance. Today’s music industry is full of has-beens clinging onto previous greatness, and as a fan of the band I was scared that this would only be more of the same. I don’t think Gang of Four will ever be able to climb out of the shadow of the band that they once were, but that isn’t to say they didn’t deliver a great performance.

My only complaints by the end were the omission of a couple of their more popular tracks off of Entertainment! in favour of newer material. As the show came to a close, in what is easily one of the most unique encores I’ve ever seen, a microwave was brought out on a table, and Sterry took a pipe to it, laying into it and denting it out of shape. As the pipe broke, he grabbed a guitar neck from backstage and continued, cheered on by the baying crowd. It felt as if it was a statement of determination, a reminder that this band was not here to phone it in or take it easy, but that they were instead hungry to recapture that 70s punk ethos that these days is little more than a memory. It may not have been fresh or innovative, but they definitely succeeded.

7.5/10

Live Review: Anteros

Channeling the female spirits of music’s past, Anteros filled Soup Kitchen with a force to shake it to its core. The band’s frontwoman Laura Hayden ran onto the stage, her silver glitter dress and unapologetic feminine appearance contrasted the worn walls of the basement.

Her stage presence and evocative dancing embodies the likes of Madonna, whilst her music occasionally paid homage to Nancy Sinatra, by incorporating her own rendition of ‘These Boots Are Made for Walkin’ into the set. The band appeared to run off of this power that has run the course of music history and used this to fuel to their sets, injecting it with something which catapults them into contemporary relevance.

This was a joyously warm and heart-filled gig. Hayden (the power-house of a frontwoman), is awe-inspiring, pervading this sense of almighty energy whilst simultaneously carrying no pretenses. Amongst this modern political climate, being a loud and unapologetically talented woman is an act of resistance in itself.

Her band — and they really are hers — consists of three guys, Joshua, Jackson, and Harry who seem to be content in the background — their monochromatic outfits and laid back style served only to make her shine even brighter. Yet they come together as a perfect unit; seamlessly slick, with addictive harmonies able to melt your soul and melodies which encroach into your mind. Watching their performances gives you the impression that they are a genuinely good-hearted band, and that there is a distinct and obvious passion for their craft. It’s a joy to see this passion blossom even in the intimate space of Soup Kitchen.

In her signature style, Hayden called as many women from the audience up onto the stage as would fit to join her for the band’s 2017 single ‘Bonnie’ – a song which can only be described as a celebration of womanhood. Dancing on stage with a group of young women, alongside undeniably one of the rising queens of the alternative music scene, was an exhilaratingly emotional experience.

Security, on the other hand, were less than thrilled. And yet, this simple act of defiance served to electrify the venue, creating a triumphant atmosphere that persisted for the remainder of the set. The night, as always, reached its peak with the emotionally charged and powerful self-titled closer song, which saw the band unite around drummer Harry as everything came to a beautiful crescendo.

The band’s debut album When We Land is released early next year but already, the relatively small group have amassed a cult following. This comes as no surprise — Anteros never shy away from their ability to interact emotionally, and in some cases physically, with the entirety of their devoted fans. The London band seem to be making their mark and if their latest single ‘Ordinary Girl’, with its Lana Del Ray-esque vibe, is anything to go by, their album should be met with high praise.

Anteros may be the God of unrequited love, but the affection towards this band is anything but.

10/10

Mortal Kombat source code leaked

Source codes to several Mortal Kombat games have been leaked on the ‘Retro Games’ imageboard of 4chan, /vr/. The games in question included in the leak, Mortal Kombat 3 (Playstation One, PC) and Mortal Kombat Trilogy N64, contain all files necessary for one to run them, provided you have a computer old enough (for the PC version) or an emulator (PS1, N64). The leak is naturally illegal as it breaches copyright law and as such there will be no links included in this article.

The company that owns the Mortal Kombat intellectual property, Warner Bros, will undoubted by looking to find the person behind these leaks, especially given their recent releases of games in the franchise. The anonymous nature of the 4chan imageboards should have made that task particularly difficult but fortunately for them, the author of the 4chan post wrote a short statement to accompany the files in which they state how they “got these from the original developer”.

“I am about to undertake the preservation of stuff. Important stuff. Before we go and preserve it publicly, I wanted to make sure it’s quietly available elsewhere so if we burn to death, it’s not gone forever.”

The 900mb compressed series of files not only includes the release versions of the aforementioned games but, if one looks closely, beta builds in which the game is noticeably different. An example of this is with the MK Trilogy for the N64. There is a build of the game from May 1996 when the final version of the game was released in November 1996.

Among the files are also progress report updates and messages between the developers in readme files such as the following: “Ed, this build contains all the fixes from you last memo except for the Aggressor Shadow Effect. I am working on that today. Please take a look at the brutality move for kung lao as well as the brutality work effect. Also the duck kicks as well as the combos should be fixed. I believe I found the problems and have corrected them. Also, any progress on locating the axe frames for nightwolf? David”

But perhaps most interesting of all, included in the MK Trilogy files are bits of text from Doom 64. Doom 64 is a game that the original company Midway Games developed and was released a whole year later. The fact that the two games were intertwined in such a way is fascinating.

Looking through the code is fun but the main question is, what will happen as a result of this leak? Having the source code for games like these can help massively with the development of two things: home-brew games and emulators. Fans of the original games can use the framework of these games to change move-sets, properties, or even add brand new characters.

For the developers of emulators, which are pieces of software that allow users to make one computer system behave like another (think playing PS1 games on a PC for example), this leak will allow them to potentially see techniques to work around hardware limitations or quirks that were not previously known. The fact that there are several console versions of the same game makes this more useful still.

No matter how hard Warner Bro’s try, they will be unsuccessful in removing these files from the internet. Anyone who has an interest for them most likely possesses the knowledge of where to look in order to find them. It is worth keeping an eye out, however, to see what the gaming community will find and make with this piece of history.

Capturing more than just Conservative attention

At last month’s Conservative Party Conference in Birmingham, Dr John Broderick, a researcher at MACE who works on climate policy, spoke with ministers and MPs to discuss an increased need for carbon capture and storage (CCS) technology.  CCS is the process of catching carbon dioxide released during the burning of fossil fuels such as coal and, as the name suggests, storing it usually underground in depleted oil fields. This prevents the release of tonnes of CO2 into the atmosphere, which contributes to climate change. With an expected increase in the consumption of shale and hydrogen gas to meet our energy needs, both of which produce CO2 , CCS would be vital in keeping the Earth’s temperature below the 1.5 degrees Celsius target.

Dr Broderick was part of a team of researchers from Policy@Manchester, an organisation that connects researchers and their findings to policy makers, that attended the conference. There he meet with Claire Perry, the Minister for Business, Energy, and Industrial Strategy, and other MPs where he said, “if hydrogen and shale gas are to be developed at scale, then a carbon capture and storage industry will also be required alongside them to keep within our carbon budget… Time is of the essence here, as we must make decisions about the long-term.”

He then went on to comment that there needs to be much more proactive investment by the UK Government in CCS but “we’ve  got to the stage now with climate change its not a matter of picking and choosing different technologies, if we’re serious about avoiding a 2 degree [rise in average global temperatures from pre-industrial levels] we’re going to need all of  the different technologies that are all in the  potential it could work stage to move into the we know how to scale this stage.”

When asked about his experience with communicating with politicians in general, somewhat surprisingly, he found, “they could be quite up to speed on a small area of detail” if it affects their constituencies (often in the forms of jobs), or if it relates to a certain lobby group, or is part of their briefs as ministers. However, Broderick went on to comment that they often do not fully appreciate the “whole context in which it sits”. He reported that they often understood science in qualitative forms rather in the numerical and statistical way you’d expect from another scientist; politicians often geared their understanding to the “bigger picture and general direction.” He mused that perhaps this is because they’re used to talking about principles in changing systems such as health, rather than exact changes.

When discussing the current role of science in British policy making, Dr Broderick rated the process as “excellent”. Currently, when governments suggest a new law, it is scrutinised by a group of backbench MPs called a ‘Select Committee.’ The Select Committee interviews ministers, those likely to be affected by the bill, and experts in the field, and it is the role of scientists to advise. He particularly credited the work of the Committee on Climate Change, which advises all government departments, as well as the the Scottish and Welsh governments, on how to best prepare for and limit the effects of climate change.

Such optimism about science-driven policy-making in the UK might be surprising, especially if you look abroad to other countries such as China, where President Xi JinPing has a degree in Chemical Engineering, or in Germany where Chancellor Merkel has a PhD in quantum chemistry, and compare it to the House of Commons where only one MP has a PhD in a science subject (Theresa Coffey, Conservative, in chemistry).

There should be more scientists that enter into politics, Broderick wholeheartedly agreed. While they shouldn’t dominate politics, more scientists would be useful in shaping and framing debates especially as “many of the biggest issues that are facing us have a scientific dimension to them”. Moreover, they would be useful in holding the government accountable, or in setting agendas and leading conversation if they became ministers.

As to how to encourage people with a scientific background to move into politics, it is important that rather than pursuing the path of a career politician, they should instead get a firm background in science first, such as getting a PhD, while getting involved in student politics. Another route Broderick suggested is through organisations such as Policy@Manchester or through POST and the CCC, where scientists generally advise on policy making and there, once they have a grounding, make the switch to a particular party and be able to decide on policy.

Broderick felt that the barriers preventing scientists from making the switch is the lack of exposure to the need for scientific policy-making. Also, it could possibly be due to the inherent uncertainty that all scientists know is in their work, which makes it difficult to “get up on TV and espouse a particular course of action… you don’t spin your research” he concluded.

IDLES at the O2 Ritz

As IDLES’ fervent frontman Joe Talbot arrived on stage of the O2 Ritz, fans beckoned his name. Deep red strobe lighting illustrated his stocky form and emphasised his soul-reading stare coupled with his confident disposition.

Moments later, the whole tone of the room switched as the remaining four members strode and took to their corners. Fans lurched forward, screaming till their lungs burnt, all with the eery backdrop that is the opening drum beat of ‘Colossus’.

Joe delivers his sermon with his right arm stretched forward, welcoming his following.

“Forgive me, father, I have sinned, I’ve drained my body full of pins…” and as the turbulent trio of Joe, Mark, and Lee all surged forward to match their entrance into the second half of the song, the crowd were already surfing, shoes were flying, and limbs were soaring.

IDLES persisted this erratic energy that resounded off every crevasse and essence of being within the packed 1,500-capacity venue. Despite IDLES’ growth in popularity, the rise in capacity did not seem to faze them an ounce.

Bowen’s shape fluttered across the stage with an authentically feminine swagger, playing to Lee’s feverish guitar strumming and his upper body that rocked back and forth at a sickening rate. Comically, whenever I glanced at Joe he’d either be mockingly playing the air guitar with his wrist tightly pressed against his chest, pointing to his “favourite scouse fan” or catapulting his spit up in the air.

Preaching ideas surrounding self-love, fragile masculinity, and a plea for social change, the Bristol-born band are known for pushing against the mainstream media. Their lyrics are used to challenge problematic phrases with this being particularly clear in the song ‘Samaritans’. “’grow some balls’ he said” and “Man up, Sit Down, Chin Up, Pipe Down”, were used in juxtaposition to a yelling of “I kissed a boy and I liked it” as Joe relentlessly pumped the air with 3 fans already going over the barrier.

This really hammers home the genuine stupidity surrounding social standards regarding how men are not supposed to show any emotions or any kind of fragility.  In fact, IDLES laugh in the face of it.

With a setlist consisting of the vast majority of their revolutionary second album Joy and featuring iconic Brutalism songs such as ‘Mother’, ‘Divide & Conquer’, ‘Heel/Heal’, and ‘Well Done’, IDLES honestly couldn’t have had a better setlist. Although, I would have quite liked to hear Joe sing ‘June’.

“HAAAA”, “HAAA”, “HAAAAAA” were the constant expressions made by Joe as he leant into his audience and clutched at the barrier whilst security were desperately trying to keep him in sight.  ‘Divide & Conquer’ was an out of body experience, as Joe’s strained and echoing vocals penetrated down the back of my spine prompting the hairs on the back of my neck to stand.

A fan favourite ‘Never Fight A Man with A Perm’, although having a less serious vibe possessed the same relentless vitality as a wall of fans shouting “concrete and leather”. This noise fought the instruments and invaded the stage where even the drummer, Jon and bassist, Dev appeared utterly elated by the crowd’s fervour.

Let’s put it this way, I’ve been to a lot of gigs and this was by far one of the best. Even though it’s clear IDLES are growing in popularity, I don’t seem to mind. If it means more people are supporting such ideas and sheer desire for love and acceptance, that’s fine with me.

IDLES are the most important band of this decade.

10/10

Live Review: Tom Odell

When Tom Odell strolled onto the O2 Apollo stage in a slick green suit, trademark blond mop glistening under the stage lights, I have to confess I wasn’t expecting much.

King of the John Lewis advert, I’d originally arranged to see him with my godmother. Wine downed and accompanied by one of my friends — not a 40-year-old woman — I was prepared for something pleasant but admittedly dull. What I actually received was a testament to the power of individual showmanship.

Tom Odell launched into the concert with new track ‘Jubilee Road’, filling the venue with his trademark vocals. The piano-backed tune combined with Odell’s lyrics soared through the crowd. While not the most exciting in the world, it was definitely good, and the audience greeted it with rapturous applause.

Heavy instrumental interludes involved Odell strutting across the stage, hopping atop the piano and dancing wildly to the music. For someone with such sad sounds, his ability to play the rock star role was remarkable. The standing crowd seemed enamoured by him, and it was hard not to feel his power even in seating. He joked and cackled with hecklers before returning to his piano to discuss the single ‘You’re Gonna Break My Heart Tonight’.

He launched into a spiel about the tune, describing it as about “a taxi and there’s a suitcase next to the taxi and someone’s leaving and that’s the kind of scene.” The result was something quite special. Haunting vocals lingered in the crowd, discussing the hardships of masculinity and relationships all set to a well-performed saxophone and piano backing.

When he shifted into ‘Can’t Pretend’, we were treated to pounding keys lit by flashing strobes, all accompanied by those intense vocals Odell is so well known for. A surprisingly energetic performance, Odell threw himself into the song with astounding talent and range. In a similar manner, fan favourite ‘Hold Me’ involved Odell leaping down to the barrier to engage with legions of fans waiting for him with arms outstretched. The crowd yelled the lyrics back to him and it’s surprising just how enthusiastic the entire affair was.  He showed his pianist talent with a brief but remarkably beautiful cover of ‘Fur Elise’ followed by the beginning of ‘Imagine’ by John Lennon, both showcasing his ability to switch from upbeat to melancholy with ease.

It was then that he played his most well-known song by miles. ‘Another Love’ was played softly — just Odell, his piano and his voice. It was beautiful. Astounding vocals — while expected – really did shine with their power. There was something special about an artist who could enrapture an audience so well with such simplicity and ease.

The encore finished with track ‘Magnetised’ which was performed to a backdrop of a city lit in neon and sunset. In this, we experienced Odell’s desire to story-tell. Finishing the concert, the crowd seemed wrapped up in the world that Tom Odell has created, full of heartbreak and vulnerability.

Gentle tunes, excellent showmanship, and well-played piano were combined to create a night that left fans magnetised themselves.

7/10

Review: English National Ballet’s ‘Manon’

Kenneth MacMillan’s ‘Manon’ by the English National Ballet was an English balletic masterpiece which travels through the upper and lower classes of Parisian society, a French brothel and comes to a final and tragic close in a hazy Louisiana swamp. The audience was swept away by Macmillan’s emotionally-charged choreography, which, for the most part, synchronises delightfully with Jules Massenet’s re-edited score. The action follows the social circles of a young girl named Manon, who must choose between her love for the penniless student Des Grieux and the riches which the lecherous Monsieur GM would provide. The matches are negotiated by Manon’s brother Lescaut, who switches allegiance from Monsieur GM to Des Grieux in Act Two.

With some scenes incorporating up to thirty dancers, it wouldn’t be wholly inaccurate to imagine the staging becoming a little crowded or overly stimulating. However, the continuing background action during group scenes compliments and occasionally mirrors the actions of the main characters. This doesn’t detract from the ambience or pull the audience’s focus away from the main action. Indeed, the corps de ballet shine throughout the performance, most notably as the male ‘customers’ in the house of ill repute in Act Two. They also impressed as the haunting, ghostly female prisoners under the Gaoler’s control in Act Three. The roles played by the corps de ballet serve as a great reminder of the social and class discrepancies between the customer and the courtesan, the beggar and the bureaucrat, and true love when pitted against the notion of selling one’s soul for money.

It is truly the soloists, however, who are the lifeblood of this ballet. Although soloist Joseph Caley (Des Grieux) perhaps takes a while to come alive in the more simply choreographed solo performances, his emotion, and the strength of his acting cannot be denied. This is especially true in his duets with Manon (Alina Cojocaru). Their deep level of chemistry and impeccable artistry create a believable pair of playful and innocent lovers, doomed to be kept apart by money, and finally, death. James Streeter performs a wonderfully supercilious, grandiose and portly Monsieur GM where every reaching of a hand, or look directed towards Manon is as disturbingly uncomfortable as intended. High praise must be given to Jeffrey Cirio, who dances so adroitly, and acts so convincingly in his charismatic portayal of Lescaut. Cojocaru (as Manon) lights up the stage in her solo performance, but particularly during her playful duet with Des Grieux at the end of act one.

Overall, the beauty of the tragic tale of ‘Manon’, coupled with its original choreography and exceptionally talented cast, means that this production is not to be missed.

The English National Ballet’s tour of ‘Manon’ continues, next in Milton Keynes.

 

 

Review: ‘Rent Party’

The tagline for this show couldn’t be more perfect: “being broke never looked so fierce.” This highly acclaimed, 5 star production leaves its audience raving. Literally. A party at 1pm sounds like a recipe for disaster… in the hands of an amateur. With an incredibly accomplished, captivating and generous cast, ‘Rent Party’ had the potential to be one of the most heartfelt pieces of theatre one could ever hope to experience.

Greeted with haribos, crisps, party bags and hats; invited to shake, sway, sass and vogue; allowed to laugh, cackle or cry. The gestures of this production created a space to rejoice, a space to lament and a space where you can just embrace the present. The honesty of the performers in recounting their own harrowing and equally inspiring tales celebrated a humanity which, I think, all theatre seeks to achieve.

‘Rent Party’ is a lesson in theatre as a tool for engagement. The production promised in its press release to, “create a kaleidoscopic picture of what it means to be young, gifted, black…and poor, and gay.” It certainly does just that with its beautifully crafted narrative, choreography that slays, passionate music and kaleidoscopic lighting.

This piece does not inflict fear or upset to make its point – which seems to becoming more and more synonymous with politically or socially charged theatre. ‘Rent Party’ asked its audience to get up and play limbo as we were simultaneously told statistics about child poverty. How low can you go? As low as the budget for free school meals? It hits the audience, it sticks to the audience, but it doesn’t hurt. The production is a testament to how we can open new discussions about recurring problems.

‘Rent Party’ not only leaves its audience with an immense jubilation but with the power to believe in change and, perhaps, the power to incite change.