LIVE REVIEWS

Image: Elvis Costello by Thomas Jackson

ELVIS COSTELLO AND THE IMPOSTERS @ SUNDERLAND EMPIRE (03.03.20)

Words: Ewan Gleadow

The fear of a performer locking eyes with me as I pretend to mouth the words to their B-side classics is something that strikes fear into my heart. My first ever gig would have to be someone whose music I knew inside and out; Elvis Costello and The Imposters is just that for me, and what a truly incredible experience it was. Costello and his Imposters were on top form for the evening in a superb display of their most well-known tracks, including Pump It Up and Accidents Will Happen. It wasn’t without its problems though, and the sound was inconsistent with Costello’s voice drowned out by drums. The performance starts strong, the fast-paced Clubland opens up a spectrum of nostalgic favourites like The Detectives, which sets a moody, sleuth-like tone through a song held up by a heavy bassline and sultry vocals. Costello presents us with a strong, emotive vocal solo toward the end of Alison and an extended version of Oliver’s Army, which is as politically charged now as it was forty years ago. Surprisingly lacking in new album material, Costello’s latest tour looks to bring about the glory days of a musical career that spans nearly fifty years. A half century later, and Costello can still belt out the classics without missing a beat.

FASTER THAN BOLT @ LIVE THEATRE, NEWCASTLE (14.03.20)

Words: Damian Robinson

Showcased as part of the Live Theatre’s Elevator Festival, work in progress production Faster Than Bolt may be one to keep a close eye on when looking for interesting theatre work to be excited about for the coming year. An interesting exploration of the UK Government’s early 2010 programme of ‘dispersing’ asylum seekers away from London and into ‘regions’, Faster Than Bolt uses a story about hitch-hiking from Newcastle to the London 2012 Olympic Games as a metaphor for the physical and emotional journeys taken by refugees as they acclimatise with new cultures and new surroundings. Cleverly interspersed with moments of aerobics and innovative use of house lighting, with their implied suggestions of defying gravity and stereotypes, Faster Than Bolt is a piece which encourages not only a reflection on how we treat asylum seekers but also of the limiting beliefs often imposed onto unheard and marginalised voices. Set within the context of Faster Than Bolt having only had four initial rehearsals before its first ‘draft’ performance, this one-person show offers serious promise for the future.

GARY WILKINSON, WORRY PARTY @ THE CUMBERLAND ARMS, NEWCASTLE (13.03.20)

Words: Damian Robinson

Whilst some events may be struggling with attendance challenges, it’s good to see a strong turn-out already in place in time for tonight’s main support act Worry Party. Channelling themselves into XX territory, Worry Party’s dreamy synth textures are performed perfectly; moving us in and out of a style of down-tempo, almost trip-hop, pop which glistens with emotional directions and moves between male and female vocal leads. Nicely warmed up, and comfortable in our electronic world, the evening climaxes with three separate movements from local synth pioneer Gary Wilkinson. Supported by interesting, often claustrophobic, visuals, Wilkinson’s core strength is in his ability to imagine and create different electronic spaces, each making subtle but distinct social and political points. Showcasing three different electronic movements, each with their own distinct sound and atmosphere, Wilkinson proves himself a master of electronic production. Wind Farm (with themes about mass usage of wind turbines) glistens with hypnotic, often ambient rhythms, whilst Fixed Odds Betting Terminals and Cannabis Farm see Wilkinson move into darker, more menacing, environments; the former showcases the desperation of addiction, employing a dark/techno feel, while the latter uses a more menacing, trippy sound to build up its sense of fear, alienation and paranoia. Serious messages and serious music.

MARTHA HILL, MT. MISERY, FAYE FANTARROW @ INDEPENDENT, SUNDERLAND (07.03.20)

Words: Mollie Field

Since discovering Martha Hill a couple of months back, I have been nothing short of addicted to her organic and eclectic sound, she’s become an artist I’ve picked up and simply have not been able to put down. Her songwriting is hugely infectious and intricate, delicate yet brassy. What followed at her live debut to sunny Sunderland did not disappoint, that it was a couple of days before International Women’s Day made it even more fitting. Martha and her fierce band brought bags of soul and sass to Holmeside. The walls of Indie’s cosy upstairs room filled with raw vocals, smooth pop hooks, delicate cello, brass, drums and jazzy keyboard sections in a punchy and distinctive cocktail. Martha’s gritty sound, which refreshingly blends pop, rock and electronics, has rightly established her as a real fast flyer in the North East music sphere. Support for the evening contributed to the unfolding of a stunning showcase of diverse local music. Ferociously talented songbird Faye Fantarrow demonstrated tracks from her EP Lines, managing to be stunning, shivery and nothing but soulful. Hartlepool’s treasured indie pop four-piece Mt. Misery also did not disappoint, delivering nothing but energy with their dynamic, cool as ice sound, instrumentally as much vocally.

JON HOPKINS, HAYDEN THORPE @ SAGE GATESHEAD (05.03.20)

Words: Mark Corcoran-Lettice

Opening up shop while much of the audience is still climbing in might be a come down from the pomp of Wild Beasts, but Hayden Thorpe’s set is a quietly confident gem: given the stripped-down nature of his debut Diviner, this piano-and-backing-track performance works just fine, and even in this intimate showing Thorpe retains plenty of stardust (not to mention that remarkable falsetto, as gravity-defying as ever.) Bolstered by a fine Tim Buckley cover and an adept reimagining of Wild Beasts number Palace, the solo life is proving a good look on him. Advertised as a chance for Jon Hopkins to explore his more meditative, piano-driven work, the Polarity tour does offer him a chance to demonstrate his mastery of the instrument and provide some reflective pauses. The small band assembled alongside him however rarely gets much of a look in, and when it’s time for Hopkins to turn back to his more dancefloor friendly material, they’re disposed of entirely. As accomplished as Hopkins is as a producer – and the audience euphoria that greets the likes of Open Eye Signal and Everything Connected is a powerful thing – it’s still unusual to see a performance that renders its own selling point so moot. It’s a great evening of music, but rather than bringing unity to his catalogue, his two core modes of working feel further apart than ever.

Martha Hill by Tracy Hyman

GRL @ BASE CAMP, MIDDLESBROUGH (07.03.20)

Words: Damian Robinson

Created as an event to showcase the work of 14 artists and bands, each containing at least one woman, credit must go to organisers AMPT for curating such a strong line-up of inspirational artists. There was simply too much to mention in a short review, though personal favourites came from, in the musical space, pop stalwarts Head of Light Entertainment and headliners Bugeye, who both used synths, guitars and harmonised vocals to make lovely, warm pop. Performance wise, the heavier and more alternative sounds which came from both GGAllan Partridge and Dead Naked Hippies both also deserve credit for the punk visuals and spirit they brought to the day. And whilst it’s a bit unfair of me, I’d say my favourite one-two moment was from local spoken word enthusiast Sarah Crutwell, whose sense of self was especially empowering and who was followed by Leeds’ Bad Bug, whose ‘60s good time R’n’B and garage rock style was particularly affecting. There’s a huge need for strong counter-culture artists to make loud noises and provoke people to think differently, and we saw 14 of those today.

Homeboy Sandman by Idene Roozbayani

HOMEBOY SANDMAN @ THE CLUNY, NEWCASTLE (04.03.20)

Words: Ikenna Offor

A very palpable thrum of ardent anticipation rushes through The Cluny as Homeboy Sandman takes the stage – all around, the mixed crowd of ageing backpackers and hiply-clad whippersnappers gingerly sidestep one another whilst jockeying for unobstructed sight lines. It’s a special breed of hip-hop fan that comes out on a nippy weeknight, and these fine folks milling about me are definitely of that stock – far from your casual punter easily daunted by brisk conditions, this lot would undoubtedly brave a blizzard if only to bask in the torrid radiance of the prolific Queens-based MC’s fiery bars. That, dear reader, is the sort of fervid fealty the Boy Sand inspires in his legion of fans, including yours truly – it’s basically the reason why, despite a mild case of the sniffles (non-viral, thankfully), I gamely attempt to keep pace with Name’s tongue-twisting alliterations, but cock-up every other word. But, what’s the appeal, you ask? Well, it’s simple – his head-spinningly abstract yet technically-grounded rhymes, particularly on both Easy and Stroll, maintain direct and explicit connections to the boom bap era traditions of yore. In a rap landscape currently overrun with the gleeful inanity of Soundcloud froth, the potent combo of Homeboy Sandman’s dexterous flow (especially impressive during a manic rendition of Yes Iyah) and unflappable brio (as displayed throughout the rambunctiously freewheeling set) squarely positions him way above the rabble. And if you can’t respect that, then like Hov said, your whole perspective is wack.

BEHOLD A PALE HORSE, ROXY GIRLS, WITNESS PROTECTION @ STAR & SHADOW CINEMA, NEWCASTLE (06.03.20)

Words: Damian Robinson

Kids grow up so fast today don’t they!? Years ago I’m convinced bands playing their debut show would be fairly shambolic; now they seem to arrive fully formed and ever-so-perfect. Whether it’s the large crowd who’ve turned out to watch them, or whether it’s because they’re just superb, live virgins Witness Protection open the show with sheer sonic feedback, drive and determination. Using interesting visual backdrops and swirling lights as support, the band rock hard with noise crushing guitars and synths and a lead singer with a distinct Newcastle accent. Sunderland’s Roxy Girls take over in a typically shambolic post-punkmeets-Postcard-Records blend of new-wave guitars and low rumbling bass patterns. Set-list free, and playing ‘knocky nine doors’ with the sound technician as they constantly change their monitor levels, they are, naturally, brilliant. Headliners, and album launchers, Behold A Pale Horse finish off a terrific evening with their wall of proto-punk-rock meets techno-and-electro sounds. Wrapped off nicely with fine soulful vocals, She Said and Let It Burn steal a show set full of soul and a wall of sound which varies and surprises as they progress to their climax.

MARIKA HACKMAN, DO NOTHING @ RIVERSIDE, NEWCASTLE (27.02.20)

Words: Ben Lowes-Smith

Do Nothing are a young band bursting with ideas; their laconic post-punk is refreshingly narrative and although wearing its influences on its sleeves – your usual late 70s early 80s post-punk tropes, and by extension The Strokes – the singer’s imaginative, amusing take on the world breathes new life into their weather-beaten processes. Particular highlight is single LeBron James, a stream of consciousness, laugh-out-loud funny and genuinely memorable track. They have won a new fan tonight. Marika Hackman’s records are to my taste, but there’s something really unremarkable about tonight’s performance. Marika and her band draw mainly from their agreeable new record Any Human Friend, but the songs seem rehearsed to the point of the joy being sucked out of them. Indeed, it feels as if there’s a detached smugness to the performance tonight, as songs are rattled out with a tedious hyper-professionalism. It’s a shame, Marika’s voice is beautiful and her lyrics are emotionally incisive, but she genuinely doesn’t seem invested tonight.

SUPERGRASS @ O2 ACADEMY, NEWCASTLE (24.02.20)

Words: Ben Lowes-Smith

I genuinely believe that Supergrass are a classic British singles band in the same mould as say Buzzcocks, as I was excited as the prospect of seeing them, despite the fact so much of their music is inseparable from the idea of youth. The last time I saw Supergrass, it was pre-smoking ban on the Supergrass Do The Hits tour and they were ferociously battering away at an enviable canon before any member of the band had hit 30. Tonight is different of course, the setting more corporate, the audience older, the carefree joints replaced by the glow of smartphones. Some of Supergrass’ music hasn’t aged so gracefully in parts, slower more plaintive numbers like Late In The Day and Moving feel more Hallmark greeting card in tone than ever, but when Supergrass hit the spot – which they do often – they are evergreen. They sarcastically open with In It For The Money, play Alright dismissively, but in spite of the motions they are going through they still really mean it. Caught By The Fuzz sounds like the 24-carat masterpiece it always has been, Lenny and Mansize Rooster are absolutely joyous. They are, ultimately, still an absolute joy.

HEATHER WOODS BRODERICK @ OLD CINEMA LAUNDERETTE, DURHAM (28.02.20)

Words: Ali Welford

With bass, drums, three keyboards and three guitars, plus a full complement of pedals and percussion accessories, Heather Woods Broderick has returned to the UK equipped for audiences in their hundreds – not a launderette in one of the nation’s lesser travelled tour stops. Nevertheless, with a fully rehearsed show and bandmates Andrew Carlson and Dean Anshutz in tow, there’s no question of paring things back. If the setup swallows half the floorspace, so be it! Although best known as a key cog behind Sharon Van Etten, the Oregon-based songwriter has proved more than capable of mirroring her friend’s golden standard, not least with last year’s sterling third album, Invitation. However, despite that record’s breakout success, tonight’s set resists the lure of a front-to-back showcase, instead offering a snapshot of a far wider catalogue. Certainly, the reverberating echoes of I Try and the gorgeous sprawl of Nightcrawler make for gorgeous standouts, but there are also gems from prior records, not to mention Home Winds and Hummingbird Skylight – the former a stand-alone single issued as part of a campaign to fight climate change; the latter an effective reinterpretation of a song penned by her partner. “We usually do a rock encore!” she jokes, introducing the evening’s sole concession, a solo acoustic rendition of Turned. It’s an illuminating sign-off, and perhaps aligns with what many anticipated en route to such an intimate space. In reality, those expectations are far, far exceeded.

Supergrass by Thomas Jackson

OTOBOKE BEAVER, DRINKING BOYS & GIRLS CHOIR @ SAGE GATESHEAD (21.02.20)

Words: Ali Welford

There’s a fervent, healthy-sized gathering in Sage 2 for the much anticipated visit of Japan’s Otoboke Beaver. Sure, we may seem ambivalent in comparison to livewire guitarist Yoyoyoshie, but a punk band stirring such genuine excitement in 2020 defies logical explanation. I’m terrible at enjoying myself, and even I’m experiencing an epiphany; a year’s worth of giddy gig thrills condensed into 50 precious, unfathomably fun minutes. Stupidly fast, tight as hell and far, far too funny to be obstructed by a mere language barrier, it’s a performance of joyous, thrashing and borderline frenzied pandemonium. It’s also one of remarkable fortitude, where even those numbers which barely clock 20-seconds are bolstered by unflappable hooks, ensuring even the wildest rides never threaten to derail. Having quit their jobs back home, they’ve also mastered the art of trumpeting merch, and even conclude with a song about shopping – as though their regular verbal hints were just that little bit too subtle. In a sense, they’re the only wasted moments all evening; everybody yet to purchase a copy of Itekoma Hits is already rushing to the desk. There’s also plenty to enjoy from South Korean support Drinking Boys & Girls Choir. Skate-punk isn’t a sound I’ve devoted much time to since my mid-teens, but much like Otoboke Beaver there’s a verve to tunes like National Police Shit, I’m A Fucking McDonalds and BIG NINE, Let’s Go which renders resistance futile. It’s enough to stave off nightmarish visions of Sum 41, and even survive brief misguided dabblings in ska and oi! Top stuff.