REVIEWS

VIIA, EVE COLE @ THE FORUM MUSIC CENTRE, DARLINGTON (13.07.23)

Words: Nat Greener

Nineteen-year-old Darlington native Viia proved to be a force to be reckoned with thanks to her dark pop/rock sound. Support act Eve Cole impressed with her indie pop style. As the winner of the 2022 Alan Hull Award and a BBC Introducing Tips for 2023 artist, she’s clearly on the rise. Whether performing acoustic solo sets or collaborating with her band, Eve Cole’s original songs resonated with the audience, setting the perfect tone for the night.

The headliner presented a powerful set featuring unreleased tracks like Velveteen and Golden Boy. Her ability to infuse classic rock elements with a modern pop twist was evident, solidifying her status as one of the strongest newcomers in the genre.

Her debut EP Am I Ready Yet? showcased her strong vocals and lyrical prowess, and this was more than in evidence live too, taking the enthralled audience on an emotional rollercoaster. From the sensuous guitars to her sultry vocals, Viia’s performance was nothing short of mesmerising.

WARM DIGITS, BRAD FIELD, FAYE MACCALMAN @ THE OLD COAL YARD, NEWCASTLE (08.07.23)

Words: Lee Fisher

Already a well-regarded brewery and a lovely bar / event space at weekends, the Old Coal Yard is now making a name for itself as an interesting and atmospheric live venue too, and a packed house for this well-curated Wandering Oak gig will have helped. The magnificent Faye MacCalman is on first and, despite some sound issues, brings some effortless class to proceedings with another set of beats, loops and voices that is magical in places, challenging in others and sometimes both. The crowd were perhaps a bit just-arrived-and-restless for something quite so focussed, but Faye was gracious and funny and it was a lovely set.

A second time seeing Brad Field and it was delicious fun again. His Heath-Robinson-meets-Harry-Partch set-up of pipe organs, drums, sequencers and video cut-ups seems alarmingly complicated but sounds fantastic, giving us a collision of images and sounds that can

Viia by Victoria Wai

turn on a dime from Sesame Street exuberance to gentle satire, and throw in slowed down gospel house vocals, exercise routines and some very meta clips. Always exhilarating, never wacky. Operating tonight on quite a cramped stage and with their usual A/V set-up a little reduced, perhaps it was easier to concentrate on Warm Digits’ playing, where usually you get blown away by the spectacle. And good God, they really do play out of their skins – Andy Hodson plays his drums like he’s in a hardcore band but with much more funk, Steve Jefferis sends out these glorious twinkling riffs – and it adds up to beautiful, hopeful anthems for a brighter shinier future. Gorgeous stuff.

COLLAPSED LUNG, BIS, MILKY WIMPSHAKE @ THE CUMBERLAND ARMS, NEWCASTL3 (08.07.23)

Words: Lee Fisher

A lovely bill from the mighty Hapless Museum Worker that was threatened by apocalyptic storms, but in the end we all got a little bit damp and had a lovely time anyway. As with the other two bands, openers Milky Wimpshake are comfortably into their third decade as an on/off concern and show no signs of veering away from their tried and tested formula of gleefully shambolic (although secretly quite adroit), punningly titled, scratchy indie anthems. The mash-up of Don’t Let Our Youth Go To Waste and True Love Will Find You In The End got me right in the feels.

I vaguely approved of bis at the time without really giving them much time and today proved that, once again, I’m a dick. bis were fucking great – hi-energy, pogotastic indie pop anthems that share some DNA with The Go! Team but with a barbed Scottish wit thrown in. They were funny as hell, look impossibly young and the healthy turnout of Geordie tweecore kids were delighted.

And finally Collapsed Lung, who I hadn’t seen in almost exactly thirty years. Perhaps not quite as well preserved as bis (the magic of Irn Bru presumably), they were huge fun and their avowedly daft Brit-hop was more caustic and inventive than I’d remembered. The songs off the forthcoming album – Mic Cuppers, Too Many Communes and the rest – show no dip in quality from their old songs and there’d have been trouble if they hadn’t finished with Eat My Goal. So they did. An excellent time all around and a splendid day out for all us old folk.

ME LOST ME, CLÉMENTINE MARCH, BULBILS @ THE LUBBER FIEND, NEWCASTLE (15.07.23)

Words: Elodie A. Roy

On the morning of the gig an incredible storm breaks out. Although the storm has gone when people reach The Lubber Fiend, some of its electricity seems to linger, and the venue is packed. Tonight, Me Lost Me (aka Jayne Dent), accompanied by John Pope (double bass, vocals) and Faye MacCalman (clarinet, vocals), celebrates the launch of her third album. The set begins with a ritual; one of Dent’s friends, draped in a long robe, dances as the band launches into their opening song. The rest is similarly trance-like, at once ancient and urgent. Dent’s keyboard compositions are filled with fantasist twists and moments of wild, psych-jazz abandon, yet they’re also rock solid, rooted. The ground won’t collapse just yet. What I notice is how completely serene and collected Dent appears to be, fully in control of her multifaceted voice. Me Lost Me comes from an ancient place and makes this place fully present. The band’s version of the Middle English song Mirie it is while sumer ilast is particularly haunting.

Support came from London-based songwriter Clémentine March –singing in French, English and Portuguese in a raucously tender voice – and from Bulbils (Richard Dawson and Sally Pilkington), who performed two angelic ambient compositions. Some truly special forces were at work that night.

PHOXJAW, TEN EIGHTY TREES, KKETT @ BOBIKS, NEWCASTLE (26.06.23)

Words: Dominic Stephenson

Quartet Kkett’s self-described ‘joycore’ is pretty much bang on; their sound is a strange mix of indie and splurts of death metal but with some decent noise nuggets under the surface, and plenty of shouting about cats and giraffes.

Ten Eighty Trees offered a more anchored sound, with a streamlined blend of throwback pop punk and hardcore. The trio have pinpointed the most bona fide elements of those genres and clearly have an ardent fanbase too, with some of the audience donning their merch. The eclectic imagery of Phoxjaw’s new LP Notverynicecream could be an allegory for its equally disparate content. An iridescent body of work, the Bristol quartet opened with its first three tracks, embarking with the climatic billow of Evermore. The twinkling synths of Apples quickly dissipated into doom-laden noise, and Icecreamwitch is symptomatic of everything you can expect in a live show from this band. Singer Danny Garland’s vocals ring reminiscent of the indie heyday, before a hacking breakdown that was derailed and wildly unpredictable but without ever losing control. The coiling guitar on Infinite Badness was a step into more atmospheric territory and the indie bop of Sungazer was bizarrely coherent with the sludgyness in their arsenal. At the other end of the spectrum, the crushing metalcore of Knives is Phoxjaw at their heaviest and on Thelastmackerel, staccato riffs locked into a suctioning groove that whipped up a hallucinogenic and compact intensity. They closed with one more calculated sonic assault, with layers of frenzied hooks, jabbing keys and obliterating percussion that were meticulously planted. Phoxjaw’s music is a galactic take on nearly every form of rock, laced with doom, hyper-pop, noise and much more, exquisitely welded together. One of the most intriguing concoctions you’ll hear anywhere this year.

ANNA HUGHES’ FELL SILENT @ SAGE GATESHEAD (29.06.23)

Words: Ali Welford

It’s something we seek out, retreat to and take solace within, yet in a world that’s anything but, is silence really all that desirable? This is the central question driving Anna Hughes’ Sage Gateshead Artist in Residence project; one which forsakes the artificial hum of our daily lives and in doing so reconnects with a natural world that’s both literally and figuratively buzzing with ambient noise.

An immersive audiovisual experience, Fell Silent makes the most of the blank canvas that is the Northern Rock Foundation Hall, pitting multi-instrumentalist Anna and a three-piece string section in the round, complete with quadraphonic sound. The music is as still, tranquil and minimalist as its title would suggest, yet while song-based you’re invested in what feels like a continuous piece, coalesced by remote sights and sounds captured during Anna’s residential retreat to the Isle of Skye.

It’s only at the conclusion, when the field recordings of swashing tides, swirling winds and chirping birds are left to fade out, that we’re presented with silence in its truest form. The ending feels abrupt – an ongoing endeavour presented in its nascent state, or a deliberate dousing of an engrossing world brought so vividly to life? Whatever its intention, even the penetrative, distinctly human din of applause comes as a stark – and unexpected – relief.

KERRIN TATMAN’S REQIUEM FOR A FADING WORLD @ SAGE GATESHEAD (22.06.23)

Words: Ali Welford

Fierce ambition underscores all four of this year’s Sage Gateshead Artist in Residence projects, yet for sheer scope, Kerrin Tatman’s exists on a plain of its own. Composed for a 13-piece ensemble, full choir and two solo singers (Jacqui Wicks as The Mother and Emily Gibson as The Daughter, respectively), Requiem For A Fading World is a fantastical odyssey set in a post-apocalyptic world, where hungry bears descend from the mountains and the ground is so toxic that not even weeds can gain a foothold.

At its centre is the conflict and philosophical contrast between the two principle characters. Each forges a path wrought with emotional swings – from elation and bombastic revelry to devastation and stark revelation – animated with gusto across a series of suites by this remarkable assemblage of talent. The feeling this evocative storytelling elicits from its audience proves no less predictable, and most impressively of all stretches to genuine empathy, not only for the humble Mother, but equally for a Daughter who takes all the wrong lessons from her grim new reality.

In a preamble speech introducing the piece’s accompanying programme and comic strip, Kerrin is coy on the project’s future. Regardless, however, of whether it’s tweaked in its current form or morphs into the puppetry epic of their dreams, tonight’s premiere is a monumental achievement.

YOUTH SECTOR @ THE ENGINE ROOM, NORTH SHIELDS (30.06.23)

Words: Thomas Jackson

In the face of a biblical storm that would leave mere mortals seeking shelter, the tenacious souls of North Shields proved their mettle. While 600 ravers surrendered themselves to the tempest to witness the legendary Judge Jules at Percy Park, those of a more guitar-driven persuasion crammed themselves into The Engine Room, eager to bear witness to one of the UK’s most promising new bands.

It’s an age-old adage within music journalism to claim that a venue simply cannot contain the sheer force of a band’s presence. However, tonight’s spectacle shattered the confines of this well-worn notion. The stage, struggling to contain the explosive energy (and mass of equipment!) forced Youth Sector to navigate uncharted territory. Mic stands and monitors were hastily relocated, resulting in a band that found themselves in an intimate, almost invasive, relationship with their audience. With angular postures and a confrontational style, the risk of danger to those who lingered on the front row was very real. What sets Youth Sector apart is their irresistible allure – an effortless blend of the political and the irreverent. Their innate ability to craft captivating hooks, combined with a live performance bursting with frenetic energy, guarantees an unforgettable experience. This marked my third encounter with the quintet from Brighton, and each time they have exceeded all expectations. However, it is their unwavering commitment to growth and evolution that bodes well for the future, igniting anticipation for what lies ahead.

THE DARTS, TV DEATH @ THE ENGINE ROOM, NORTH SHIELDS (10.7.23)

Words: Gus Ironside

Hailing from Phoenix, Arizona, The Darts (US) have made a dramatic impact on the UK garage punk scene this year, with the release of their stunning Snake Oil album. The Engine Room in North Shields’ historic Fish Quay area was the perfect venue for The Darts’ style of incendiary, no-holds-barred rock & roll, ably supported by local rising stars TV Death. The Newcastle garage psych outfit burned through a high-energy set featuring several intriguing new songs, introducing compelling punk funk grooves to the group’s trademark frenzied garage psych. Live favourites Crank Bugs and Isolation closed the set emphatically. As soon as The Darts hit the stage and launched into My Heart Is A Graveyard, they had the capacity audience under their spell. Frontwoman Nicole Laurenne was a force of nature, simultaneously singing and playing her Farfisa organ, which she used as a prop throughout the set, in a similar fashion to how Iggy Pop uses and abuses his mic stand. The black-clad riot quartet were incredibly tight, driven by the powerful drumming of Mary Rose Gonzales, solidly locked in with Christina Nunez’s crunching basslines and Louis Sordoillet’s razor-sharp guitar playing. Highlights included Under The Gun, Snake Oil, Intersex and new songs Hang Around and Your Show. Finishing with a three song encore including a manic cover of The Trashwomen’s Batteries, this was a night to remember by a band that’s primed to explode.

A STREET LIKE THIS @ THE FIRE STATION, SUNDERLAND (29.06.23)

Words: Tracy Hyman

A perfect piece of community theatre, writer Alison Carr brings an ordinary street to life with the help of Ross Millard of The Futureheads and Unfolding Theatre. Led by three professional actors, the production stars and is co-curated with members of a local community theatre company, who seamlessly work alongside the actors and also form part of the house band.

We form the street, we are part of the story. Perhaps this isn’t exactly our street, but as we are introduced to the neighbours one by one the anecdotes and tales are familiar; the nosy neighbour, the over-zealous neighbourhood watch co-ordinator, those with hidden secrets behind their curtains. The set cleverly enhances the story, alongside BSL interpretation.

A sinkhole disturbs the peaceful lives carefully lived apart, sending the street into turmoil. Change happens. One neighbour has lost her cat. The three main characters, one a hoarder, one a woman with a ‘just in case, case’ under her bed, and the last a neighbourhood watch co-ordinator, take us on a journey of exploration. They revisit their past and reflect on their lives and what is holding them back. Gradually the street comes together and the pieces are put back into place. It is both funny and poignant, a reflection on the past of what makes us who we are and how to overcome what holds us back.

LAURA CANTRELL @ THE FIRE STATION, SUNDERLAND (27.06.23)

Words: Lee Fisher

Laura Cantrell is one of the most quietly unusual people working in country music. For a start, she moved from Nashville to New York rather than the other way round, and she’s had a very successful side hustle in various Wall Street jobs for much of her career. She also brings a lively intelligence and analysis to country – much like Robbie Fulks, I guess – as evinced in various documentaries and her radio shows. She’s no ordinary bar room chantoozy, is what I’m saying, and she’s an absolute delight tonight, promoting her recent Just Like A Rose release.

Backed by a REALLY great band (some virtuoso mandolin especially) she gave us a magical set split mostly between the new LP and her Not The Tremblin’ Kind debut from two decades earlier, a set of heartbreakers and break-up songs and the occasional barroom shitkicker. She’s demurely furious on Angry White Men – Bless, a really powerful and atypically direct political number, and sweetly rueful on The Whiskey Makes You Sweeter. Seeing her perform Love Vigilantes, her unlikely New Order cover, was an unexpected thrill and of course we got an encore that included eternal banger Not The Tremblin’ Kind. And she was charming company throughout, full of grace and stories. Cantrell is really special and it was great to have her back.

L DEVINE, GIRLBAND @ THE GROVE, NEWCASTLE (01.07.23)

Words: Damian Robinson

It’s always heartwarming to see new gig venues popping up across the region, and it’s even nicer when they’re already generating a buzz and selling out shows. Tonight’s sold out show at The Grove perhaps proves that you don’t need to be in a central location to attract a large crowd; what you need is a strong line-up, a welcoming atmosphere and a banging PA system.

Support act Girlband are on fine form; opener Twenty First Suffrage (a song about “not giving a fuck basically”) sets an early high tone for the three-piece rock/indie outfit clearly laced with a love for Blackhearts melodies and attitude. Set highlight Slow Me Down, delivered with some serious popping bass lines, caps an impressive set from a seriously good live act who prove a great support for local favourite L Devine.

Making her home return, Devine’s blend of electro pop (mostly a showcase of new material from her forthcoming album) is on fine form tonight, particularly on pulsating opener Eaten Alive, and the acoustic led Daughter. Confident and poised, Devine’s stagecraft continues to develop at the same pace as her material, and on this form her forthcoming album could push her further into the pop charts.

A fine new venue and a maturing artist; the North East’s in great shape.