ISSUE 23
9 - 15 OCTOBER 2018
ALBUM REVIEWS From 12 Stone Toddler, alt-J, Black Peaks and Amber Arcades
MUSIC NEWS From Resident, Sticky Mike’s, Bastille, Lala Lala and more
GIG LISTINGS Our recommended listings of gigs in Brighton
LIVE REVIEWS
Featuring The Magic Gang, All Saints and more
DIE THE UNLIKELY LADS OF IN
ISSUE 23
CONTENTS HER’S Stephen Fitzpatrick and Audun Laading chat to Jeff Hemmings about their name, their musical identity and how they came together in Liverpool
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CEO: Frank Sansom EDITOR: Daniel White PRODUCTION: Adam Kidd, Jonski Mason
NEWS LISTINGS Local venue news and more from the city’s music scene
COVER SHOT: Neelam Khan Vela
Our recommended listings and previews of this week’s gigs
3 4 ALBUMS Reviews from the latest album releases this week
BRINGING THE ARTISTS CLOSER TO YOU...
LIVE REVIEWS
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The Magic Gang, All Saints, Skinny Pelembe and more feature in our rundown of this week’s live reviews
OUT OF TOWN
GAZELLE TWIN
Our favourite upcoming gigs outside of Brighton
Elizabeth Bernholz chats to Jeff Hemmings about her latest album, Pastoral, and her public and private personas
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CONTRIBUTORS: Jeff Hemmings Iain Lauder Jamie MacMillan Liam McMillen Ben Walker Christian Middleton Kelly Westlake Paul Hill Chloe Hashemi Dan Whitehouse Annie Roberts Rhys Baker Anna Claxton press@brightonsfinest.com advertising@brightonsfinest.com Copyright © 2018. All rights reserved.
brightonsfinest.com brightonsfinestpresents @brightonsfinest brightonsfinestuk @brightonsfinest
NEWS Sticky Mike’s Frog Bar have announced plans to close, with one last New Year’s Eve Party on 31st December, later this year. Representatives for the venue say there are “too many issues” for the live music venue to continue as a viable business.
Sharon Van Etten is set to return with Remind Me Tomorrow, her first album since 2014’s Are We There, and will again be released via Jagjaguwar, on 18th January 2019. The aptly named ‘Comeback Kid’ is the first fruit from this album.
Orbital and Bill Ryder-Jones to appear in Resident
Brighton record store, Resident, have announced two in-stores coming in the next few weeks. First, Brighton-based duo Orbital will be doing a meet-and-greet on 13th October, along with a playback of their new album Monsters Exist. Following that, The Coral’s Bill Ryder-Jones will be doing an in-store performance and signing session off the back of his new album, Yawn, on 8th November at 6.30pm. You can pre-order the album on any format to receive a free guest-list.
After a busy summer playing festivals, Bastille have announced a short UK tour, including a date at the Brighton Centre on 1st February. They’ll be showcasing new songs ahead of the release of their third album, expected to come out in late spring.
Following the recent release of The Lamb, Lala Lala - the Chicago-based project of Lillie West - has announced European tour dates for early 2019 along with a new video. She’ll be hitting Brighton next year, at The Prince Albert, 14th February 2019.
ALBERT HAMMOND JR At Brightonsfinest we strive to meet all of the best musicians who travel to, or live in our vibrant city. On our YouTube channel you can listen to our archive of radio interviews from both emerging and established artists, highlighting the best in new music from Brighton and beyond. Following his show in Brighton last month, this week we look back at our interview with Albert Hammond Jr, as he chats to Jeff Hemmings about his solo album, Francis Trouble.
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PREVIEWS
GIG LISTINGS KOMEDIA
Teleman – Concorde 2 – Tuesday 9th October 2018 The London indie-pop band are in town for what is sure to be a great show at Concorde 2, brought to you by Love Thy Neighbour. The art of songwriting has been the driving force behind Teleman’s music: the process of crafting the immaculate pop song, the dogged pursuit of the perfect hook, with the result, Family of Aliens. Support comes from C.A.R. - Chloé Raunet, with her mixture of glimmering electronics and post punk angles.
Neil Innes Tuesday 9th October Tickets: £18.50 Presented by Dictionary Pudding
Saint Agnes Wednesday 10th October Tickets: £8.05 Presented by One Inch Badge
whenyoung Wednesday 10th October Tickets: £8.50 Presented by One Inch Badge
Aiming For Enrike Thursday 11th October Tickets: £6.60 Presented by Small Pond
Diabel Cissokho Friday 12th October Tickets: £11 Presented by African Night Fever & Yaram
El Moono Friday 12th October Tickets: £5 Presented by Scruff of the Neck
PATTERNS Husky Loops Tuesday 9th October Tickets: £9 Presented by One Inch Badge Fatherson Thursday 11th October Tickets: £9 Presented by One Inch Badge
Anteros – Sticky Mike’s Frog Bar – Wednesday 10th October 2018 Not-so-quietly going about their business as one of the most exciting live bands in the country, Anteros, led by Laura Hayden, are always someone you want to catch live. Back in town for a headline show at Sticky Mike’s to kick off their latest tour, the rising indie-pop band recently released another banging new single in ‘Call Your Mother’, which only heightened expectations for that rumoured debut album.
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Puma Blue Monday 15th October Tickets: £8.25 Presented by Neat Neat Neat
The Brunswick
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Stu Larsen Saturday 13th October Tickets: £12.10 Presented by Good Lies G Flip Sunday 14th October Tickets: £8.80 Presented by Live Nation The Goon Sax Monday 15th October Tickets: £9.90 Presented by Neat Neat Neat
The Prince Albert Gaffa Tape Sandy Wednesday 10th October Tickets: £5 Presented by Scruff of the Neck
Yves Thursday 11th October Tickets: £7.88
Actifed Friday 12th October Tickets: £5.50
Matias Malagardis Thursday 11th October Tickets: £6 Presented by Scruff of the Neck
Too Many Crooks Saturday 13th October Tickets: £11
Tenderhooks Friday 12th October Tickets: £8.25 Presented by Tenderhooks
Sticky Mike's Frog Bar Black Honey – Concorde 2, Brighton – Sunday 14th October 2018 Brighton’s finest band have shapeshifted from a desert rock, Spaghetti-Western, Tarantino nodding band to a post-genre, all encompassing behemoth. They made their name, of course, on the road, and their show at Concorde 2 is sure to be an all out celebration of the band with their fans from young to old. This could be the last time we’ll ever get to see them in such a small venue. Support comes from excellent Manchester band PINS.
Green Door Store
The Black Delta Movement Thursday 11th October Tickets: TBC Presented by Suit Yourself Promotions Anna Pancaldi Friday 12th October Tickets: FREE Bloody Knees Sunday 14th October Tickets: £5 Presented by SB Live
ATTENBOROUGH CENTRE Gazelle Twin / GAIKA Thursday 11th October Tickets: £14 Presented by Brighton Digital Festival James Holden & The Animal Spirits Friday 12th October Tickets: £14 Presented by Brighton Digital Festival
RIALTO THEATRE Halo Maud Saturday 13th October Tickets: £8.80 Presented by Melting Vinyl
GIG LISTINGS The Hope & Ruin Bed Rugs Tuesday 9th October Tickets: £7.70 Presented by Love Thy Neighbour Wild Front Wednesday 10th October Tickets: £7.50 Presented by One Inch Badge The Godfathers Thursday 11th October Tickets: £15 Presented by Lout Promotions The Alien Drifters Friday 12th October Tickets: TBC Carla J. Easton Saturday 13th October Tickets: £8.80 Dan Owen Sunday 14th October Tickets: £10 Presented by Lout Promotions
Concorde 2 The Sherlocks Wednesday 10th October Tickets: £13.50 Presented by SJM Concerts Joanne Shaw Taylor Friday 12th October Tickets: £22.50
THE HAUNT Okkervil River Tuesday 9th October Tickets: £20.35 Presented by One Inch Badge 12 Stone Toddler Wednesday 10th October Tickets: £6.60 Tracyanne & Danny Thursday 11th October Tickets: £16.88 Baloji Monday 15th October Tickets: £12.50 Presented by Lout Promotions
LATESt music bar Amber Arcades Friday 12th October Tickets: £11 Presented by Neat Neat Neat
NIGHTLIFE Bladerunner Wednesday 10th October The Arch 11pm - 4am
Catz ‘N Dogz Friday 12th October Hideout 11pm - 5am
Hybrid Minds Friday 12th October Concorde 2 11pm - 4am
Chris Lorenzo Friday 12th October The Arch 11pm - 5am
LTJ Bukem Friday 12th October Komedia 11pm - 3am
Phaeleh / Benny Ill Friday 12th October Volks 11pm - 7am
Loefah Friday 12th October Patterns 11pm - 4am
Steve Mac Saturday 13th October Hideout 11pm - 5am
Steve Mac Saturday 13th October Hideout 11pm - 5am
Sonic Switch with Tru Thoughts Saturday 13th October Green Door Store 11pm - 4am
Levela / T>I b2b Limited Saturday 13th October Volks 11pm - 7am
Mor Elian / Stranger Saturday 13th October Patterns 11pm - 4am
OUT OF TOWN Level 42 Tuesday 9th October G Live, Guildford (Pop) - 7pm
Poppy Ackroyd Wednesday 10th October Southbank Centre, London (Pop) - 7pm
M.O Wednesday 10th October Omeara, London (R&B) - 7pm
Yonaka Thursday 11th October Electric Ballroom, London (Rock) - 7pm
Suede Saturday 13th October Eventim Apollo, London (Indie) - 7pm
Public Service Broadcasting Saturday 13th October London Palladium, London (Electronic) - 7pm
St. Etienne Sat 13th & Sun 14th October British Library, London (Indie) – 7.30pm
The Robert Cray Band Monday 15th October De La Warr Pavilion, Bexhill (Blues) - 7pm
Smashing Pumpkins Tuesday 16th October SSE Arena, Wembley, London (Rock) - 6pm
Wolf Alice Wednesday 17th October Roundhouse, Camden, London (Rock) – 7.30pm
Full event listings at Brightonsfinest.com/listings
Stephen Fitzpatrick and Audun Laading may have become friends via unlikely circumstances but their music has created a strong bond between these off-beat boys, as Jeff Hemmings found out ahead of their upcoming Brighton show...
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hat’s in a name? It’s the cause of much consternation amongst those who have to carry the burden, the weight of it. Should it be meaningful, and relevant to the sound, or perhaps it should have no obvious ties? Maybe it just sounds good, and looks just fine in the eyes and ears of the beholder. Whatever the case may be, all bands have to have a name. Over the years I’ve spoken to countless acts who hate what they are called, but are burdened with it for ever. Not so with Her’s who, although completely aware that the apostrophe is “massively incorrect”, sound quite content with the ambiguity of it. “That’s the thing,” says Stephen (Ste)
Fitzpatrick, “there isn’t any huge, mysterious back story to it. It’s more of a name that we feel represents the sound. It’s more aesthetically pleasing. We like it that it’s quite ambiguous. There isn’t any specific ‘her’ that is related to it. It’s meant to be a mysterious, romantic thing. It sounds like a sense of longing. I guess that relates to the melancholic side of the music.” “A lot of people are curious as to who the ‘she’ could be, but that’s the ambiguity of it,” says Audun Laading. “It kind of relates to this idea of a higher being.” What was, at the beginning, a meeting of minds between Laading and Fitzpatrick, Her’s have forged a strong chemical bond through a
mutual love of off-beat humour and outsider art. Their obvious love for their subtly infectious music, is best enjoyed on the live stage. With the aid of a drum machine, Laading plays his bass whilst vigorously swaying from side-to-side, reminiscent of new romantic/new wave moves of old. All while guitarist and singer Fitzpatrick alternates between the guttural and the melancholic; the duo somehow capturing the spirit of the 80s, via The Smiths, Aztec Camera, Orange Juice, as well as relative newbies such as Ariel Pink, and Mac DeMarco. It’s all topped off by the slightest hint of indie-funk, propelling the songs into danceable territory. It’s all forged from an unlikely pairing, from a geographical point of view. Fitzpatrick is from the North West Cum-
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There isn’t any specific ‘her’ that is related to it. It’s meant to be a mysterious, romantic thing. It sounds like a sense of longing brian town of Barrow-in-Furness, while Laading is from a “Slightly sleepy town on Norway’s south coast, called Kristiansand. I’m from an island about half an hour from there. I found my way out of there, luckily... I applied to one university, and got in. I don’t fully remember why I picked Liverpool. It was a bit random. I think I thought it had a good reputation. It worked out!” Often labelled as dream-pop, their sound is both romantic and nostalgic, as well as melancholic, and sad. It’s a fine tightrope they walk, but with aplomb they do, as can also be heard on their recently-released second album, Invitation To Her’s, which sees the duo really maturing as songwriters and musicians. Songs such as ‘Low Beam’, ‘Blue Lips’, and ‘Mannie’s Smile’ evoke a warm familiarity via some insanely catchy pop melodies. “We approached it more as a unit,” says Ste, “as opposed to piecing together a lot of songs. With the first (mini) album (Songs of Her’s) suddenly we were a band, and we thought we should just probably release the music. It was more of a goal-orientated effort this time. We were more confident with the production.” “We had a chance to demo this one,” says Audun. “We spent a lot of time on this. The first one we did in separate parts, back and forth recording, finishing off tracks as we went along.” The pair met whilst at the Liverpool Institute for Performing Arts, within the fevered atmosphere of undergraduates trying to find their space, their mojo, as well as seeking out like-minded souls. “We both moved from our small towns to Liverpool, studying the same course, had exactly the same schedule, and then we started playing in a band together, that
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wasn’t Her’s,” says Ste. “It was a preBrad stank band called Sun Dogs, and we were the rhythm section. That was our musical introduction to each other. It developed from there very naturally. We started hanging out more, and jamming. It took a while, we were pretty chilled about it.” “It was always an ambition to make original music,” says Audun. “When we started making music at uni there were so many bands being formed, left and right. It was a hectic period, the first month of uni, just trying to figure it out. For me personally, I was just going to take my time, figure it out, find out who I am vibing with in the right way.” Ste says, “One of your mates heard about us jamming, and he offered us a gig. Suddenly we had to write songs for this gig. They came together in a week or two. We had four songs, and we played for probably eight minutes. A set nonetheless. That was the start of the band.” “We did some awful, awful songs to get a passing grade, which we did,” says Audun. “They will probably never get played anywhere. Truly awful. But Ste had some good ideas down on guitar already, and we fleshed them out a bit more. And here we are in the back of a van!” However, they still passed with awful songs, “We got a 68 or something. Not bad. Almost a first. I’ll take that.” They are in the back of a van as we speak. They’ve just returned from a little jaunt to Europe, and are speeding their way back to Liverpool having just finished a session for Radio 4’s Loose Ends. “We got back from Amsterdam not too long ago, and today we’ve been in London with ol’ Clive Anderson,” says Ste. With
Anderson at the helm, Loose Ends is a radio show that always features a couple of live musical guests in the mix. “It’s a good eclectic mix of people in there,” says Ste. “We played ‘Low Beam’ for them. We were actually meant to be on next week’s show with Jeff Goldblum,” says Ste, sounding disappointed he didn’t get to meet the actor-cum-musician. “We missed Jeff, but there were some good people there. “Europe was really nice too. We played two festivals and a little headline show in Brussels. We’re going back in October for another set of dates around Europe. This was a nice easing in to it. We’d never been to Brussels. It was a super nice crowd, fun to get the chance to play.” With a short tour of the US, and a headline UK tour also lined up for the rest of the year, it’s going to be a “sweaty few months” for Her’s. They are, in particular, looking forward to another Brighton date, at Sticky Mike’s Frog Bar, their first one since they came to town in May for The Great Escape, including a show for Brightonsfinest at St. Mary’s Church. “That was really good,” says Ste. “Super reverby in there. It’s a bit of a pressure when you’re rocking right in front of God. I really enjoyed it, the big reverberance adding a bit of weight to your statements.” To read the full interview visit Brightonsfinest.com/Hers
Invitation To Her’s Out: 24th August
ALBUM REVIEWS 12 Stone Toddler IDIOLALIA Out: 5th October 2018 Last year, after an unfathomably long hiatus, legendary Brighton rock band 12 Stone Toddler dusted off the nappy and unveiled their latest incarnation to eager crowds. Celebrating ten years from the release of their stunning debut album, Does It Scare You?, the band wowed us all with a sold-out show at the Green Door Store. They then played at several UK festivals before quietly slipping once more from view. Now, 12 Stone Toddler are back, and they’ve come back big, with a new album that sits perfectly alongside their earlier releases, whilst sounding fantastically fresh. It will undoubtedly be an immediate favourite with fans who’ve spent a decade dreaming it into existence. However, here’s the crunch: will it land them the recognition they need beyond the safe confines of dedicated home-grown support? It certainly deserves to, and I for one will be willing them onwards and upwards from here.
Black Peaks All That Divides Out: 5th October 2018 Black Peaks’ debut album, Statues, was one of my favourite of recent years and it’s always hard to follow up such a stellar debut. In keeping with the album title, All That Divides, on first listen my opinion was divided. Yes, it’s 100% a Black Peaks album but it didn’t seem to have the intensity I loved from the first record. Looking at the tracks on their own, the album gets off to a good start with ‘Can’t Sleep’ a classic brooding song with some killer hooks. Followed by the edgy ‘The Midnight Sun’, which is an epic longer track in the same vain as ‘Hang ‘Em High’ off the first album. ‘Aether’ and ‘Across the Great Divide’ bring back that classic Black Peaks mixture of a melodic track that builds into heavier parts. So, after a few listens all my trepidation has melted away and I’m starting to love every one of the tracks on the album. I think they have done a great job of evolving their music but still keeping that essential Black Peaks sound.
Amber Arcades European Heartbreak Out: 28st September 2018 As the Dutch songstress Annelotte De Graaf returns with Amber Arcades for their second full-length release, European Heartbreak, we’re introduced to a far more mature level of musicianship from the band. Amber Arcades have not only discovered their sound, but managed to perfect a brilliant level of finesse and charisma within each song, all coated in melancholic themes of political uncertainty and the general instability which can be found across this modern world. The incredible ‘Alpine Town’ is a certified favourite, the brilliant level of colour and breeziness behind the song really does transport you to a picturesque snowy mountain town in tranquility and is a wonderful song from start to finish. The entire album blends smoothly yet still provides enough grit and edge to be worth the listen. Amber Arcades are certainly a name to have on your radar right now and if this is a sign on things to come, count us in.
alt-J Reduxer Out: 28st September 2018 A complete reimagining of last year’s Relaxer, alt-J’s latest release, Reduxer, sees the band working with a host of hip-hop stars and producers to create something truly remarkable and surprising. No mere retread, this doesn’t involve the lazy adding of a club beat or just dragging tracks out to an interminable length. Instead, it is a wholly different beast. Through much of Reduxer, alt-J act as mere hosts - providing the structure and environment for others to work in, many tracks almost unrecognisable at points (though always existing within the original framework). Flitting across the whole genre of hip-hop like a musical butterfly, it stands as both a vital mixtape of the here and now of the scene in 2018 as well as an alt-J album. In that regard, it easily stands up as a completely separate and definitive piece of work and opens up a whole new world of fascinating and thrilling potentials.
Read the full reviews at Brightonsfinest.com/albums
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Elizabeth Bernholz (nee Walling) is an extraordinary electronic composer, musician, producer and performer who trades under the name of Gazelle Twin. Forged in a rural idyll in Middle-England and four years in the making (amidst life-changing events), Pastoral is the artist’s first major release since the 2014 album Unflesh. It’s a fascism-infused hellscape, this time set in deepest Old England. Jeff Hemmings asked her about her artistic vision, child rearing, and her public vs private persona.
Amazing album! How much did the support from the PRS Foundation Momentum Fund help you realise the album? It was critical. As a self-releasing artist, I am certain it would not have been possible to release the record in the way I wanted to without that investment from them. Can you define your art? Why it is important for you to do what you do? All I set out to do is make something meaningful, immersive and fully realised in terms of how an idea, or set of ideas, are translated through music, as well as the artwork, films, live performance, and the way it is released. Music has always been an incredibly important creative outlet for me and in the last five years has actually become part of maintaining my survival and good health.
I have read that giving birth and raising a very young child caused you to endure post-natal depression, and engendered heightened sensitivities, which has in turn informed Pastoral horrors lurking in every corner - would that be fair to say? Yep! For me, having a child made even easy everyday situations feel very different and often deeply frightening or too overwhelming for me. But I also felt as though the world was darkening and becoming less and less empathetic with what has been happening politically across the planet, and that only served to heighten the mood.
Gazelle Twin – Pastoral
Pastoral has been four years in the making. Has child rearing been the major distraction? Yes and no! I was also travelling and touring during the early stages of writing it, but I was actually more productive after having my baby than beforehand, despite the sudden lack of time. I think the experience of childbirth and the time during which it happened (early 2016) was certainly the catalyst for inspiration. What does ‘pastoral’ mean to you? Well, when making this album I was thinking about the traditional sense of the pastoral, the art form; the classical symphony, romantic literature, art, as well as fascist propaganda and the agency of a kind of nostalgia that seems to exist among the rich, the noble and the ignorant. Pastoral seems to examine historic and contemporary England, with a focus on the dark tension underneath the surface. Was this a conscious aim? I wanted to look beyond the facade of the ‘quaint’, to see what it’s really made of... not just take it all on face value with the mindset that it’s ‘safe’ somehow. I found that I was noticing details about the world around me that I’d never encountered before. Thinking about what it means to be English - with all the unedited shame of our history.
You live a kind of dual existence; one of a new mother hanging out with other mothers, and Gazelle Twin. I assume it’s important to keep these things separate? It really depends. I mean, what I do is very complex and strange as a ‘job’ so it takes a lot of explanation, and there is often simply no time to go into that much detail when hanging out with kids and other mums. I usually just say I’m a musician/composer and leave it at that. The thought of anyone Googling my name and seeing the pictures that come up on a search does slightly worry me and I admittedly dread people taking too much of an interest and asking me what it’s called. What does Gazelle Twin refer to? Oh it’s just the name I came up with for
this project back in 2010. It wasn’t terribly sophisticated – just a rough anagram of my former name. There are so many different voices, manipulated and otherwise. Is this something you experiment with, or do you have an idea of what you want in the first place? Sometimes I have an idea, but sometimes I am just messing about and experimenting or even playing. I try to experiment above everything else because that is always when the subconscious starts to tune in, you start to get to the core of something you didn’t expect to find, it’s so much fun joining all the dots up later. When you’re on stage, how important is it for you to be anonymous? It’s not so much about being anonymous, but rather stepping out of my everyday self in order to channel other voices, emotions, movements, themes etc. It’s not completely detached from myself, however, I do think that what I am doing is channelling deep emotions and finding ways to do that which don’t leave me too vulnerable. It’s probably quite important in terms of mental health. As a performer I have found this method to be incredibly liberating. The costume you wear, what does it mean to you? It’s really a kind of mixed up scarecrow of multiple identities, cliches, and traditions. It’s no one thing in particular. I thought it was important to have a sort of puppet to represent all the different aspects of the album, and the template of a Jester seemed to fit the bill perfectly for this as the base of the idea. You were born and raised in Brighton but now live somewhere rural. How do you look back on Brighton now? I lived in Brighton for around 12 years whilst studying. Brighton was the first major city I lived in and the first place I made a home on my own away from family. I came of age there I think, even though I was in my early 20s when I moved there, so I really miss it, and often long to be able to live there again with my little boy so that he can enjoy all the wonderful things it has to offer. To read the full Q&A with Gazelle visit Brightonsfinest.com/GazelleTwin
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LIVE REVIEWS
It’s often strange seeing a band we’ve seen adorn so many of our small venues over the years become a genuine nationwide institution. This has happened to Brighton’s The Magic Gang seemingly overnight. From playing in front of little to no people, to releasing their debut album and winning over teenagers left, right and centre. Their Concorde 2 show, which saw screams akin to a chart-storming boyband, was a celebration of their early years and their debut record. Fittingly, the first support on the night came from a band who look like they’re set to repeat The Magic Gang’s trajectory. Drip Gloss, the band who have recently dropped their debut single ‘Fame’ and supported Swim Deep, look like they have all the ingredients to be the next indie darlings. Kicking off with their first ever single ‘Alright’, The Magic Gang went through their catalogue with exuberance and a whole load of pizzazz. “We’ve been here from the start so to come back here is so special” stated frontman Jack Kaye early on in their set and if there was one word to describe this it would be special. To see a large group of young people this into guitar music is fantastic and euphoric. After an encore which saw them race into ‘Life Without You’ and arguably their biggest single ‘All That I Want Is You’ and offer up an after party at The Western, The Magic Gang were gone - but this night will live long in the memory. Not only for the band, but for the hordes of young fans who won’t be forgetting this for a very, very long time. We’ve been there from the start, and it’s been an honour to follow the band all the way to this memorable moment.
It’s a rare joy to see an act with such a following perform in such an intimate venue, but that’s exactly the opportunity Nordoff Robbins have been giving fans as part of Get Loud Sessions. In Brighton, All Saints performed at Komedia, beaming throughout a set which consisted of hit after hit, playing through a great selection of old and new. Whether it’s nostalgia or a deeper meaning, these songs clearly mean a lot to their fans and the emotion was evident as they performed.
On the independent venue live circuit right now, there really isn’t anyone like Skinny Pelembe. World music, with an indie and trip-hop sensibility, it was incredibly unique and profoundly impressive. With a four-piece band behind him, including steel pans, it was an eclectic line-up that was worthy of Pelembe’s excellent repertoire. A consummate professional, and awe-inspiringly talented, Skinny Pelembe is sure to turn heads and looks nailed on for a dedicated fanbase in the very near future.
After support from Good Guy Clarence, Conner Youngblood took to the stage as the crowd listened intently. His appearance is almost as interesting as his music and his work serves almost as an extension of himself. His performance was calming from start to finish and felt very personally revealing, his personality connecting with the many who had gathered to watch him. It was good to see him back in Brighton as his sound is a complete break away from the majority of the local scene.
Young and vibrant, with the political nouse and bravery to say exactly what he thinks, during his show at Sticky Mike’s Frog Bar Bakar came across as a voice for this generation - and at such a young age, that’s mightily impressive. Important to adolescents without watering down his music, Bakar is a rebellious voice in music right now and one that has a challenging and disturbing nature. Ultimately, this was entirely refreshing and a truly great night to many, many people.
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Read the full reviews at Brightonsfinest.com/live