LIVE REVIEWS

Image: Róisín Murphy by Victoria Wai

RÓISÍN MURPHY @ BOILER SHOP, NEWCASTLE (13.09.21)

Words: Ali Welford

In a just world, Róisín Murphy would be rounding off the finest 12 months of her career, arriving at the Boiler Shop having slain dancefloors, festival fields and concert halls left, right and centre. Of course, our actual (shit) timeline has limited the Irish star’s outings to a clutch of glitzy TV slots. Fun excursions, no doubt – but it’s testament to this born and bred performer’s character that she rocks up at this first ‘proper’ gig for the best part of two years with a ‘better late than never’ outlook, relishing the energy of her audience, the countless costume changes, and the sheer joy of being onstage which a handful of primetime appearances simply cannot satiate.

Beginning on the venue’s mezzanine and ending with an unexpected flamenco encore, tonight’s set finds room for both established classics and a smattering of Moloko favourites. Really, though this disco-fuelled performance is all about Róisín Machine – last year’s powerhouse album through which Murphy fully indulges her inner diva. The strut throughout is utterly irresistible, from the groovy licks of Incapable and theatrical throb of Narcissus to a reworked Murphy’s Law, an ardent subscriber to one of music’s unwritten rules – that if you must have a de-facto eponymous track, you’d best make it a banger! It’s all tremendous fun, underpinned by the palpable sense that she’s loving it just as much as the rest of us.

ARAB STRAP @ BOILER SHOP, NEWCASTLE (09.09.21)

Words: Ali Welford

Aidan Moffat and Malcolm Middleton’s last outing in Newcastle was, to put it mildly, a bit special. However, even as they smashed their first show in a decade on one of The Cluny’s finest ever nights, you’d have received long odds on them returning five years later, buoyed by one of the finest records of their career. That, though, is precisely where the revitalised Scots find themselves following March’s spectacular As Days Get Dark. If indeed there were any, tonight swiftly puts doubts to rest; the reverence greeting The Turning Of Our Bones, Here Comes Comus! and Fable Of The Urban Fox confirming their status as instant classics.

This isn’t a mere re-run of 2016 with new cuts subbed in, though. Yes, the likes of Girls Of Summer, New Birds and Piglet are all present, correct and as magical as ever, yet they’re also flanked by surprise additions omitted from that initial reanimation. Fan favourite Love Detective, for instance, receives a welcome airing in all its paranoid, unnerving glory, but even that’s topped by the colossal Blackness, a lengthy deep-cut recalling the days when Arab Strap and close contemporaries Mogwai formed the impenetrable apex of brooding Lowland misery.

That tonight isn’t quite on par with their previous visit is a moot point; joy mightn’t be their forte, but there’s plenty here to leave the Strap hordes mightily satisfied.

WAXA BELTA HELTA SKELTA @ LAUREL’S, WHITLEY BAY (16.09.21)

Words: Leigh Venus

Tapping into that weird seam of Geordie sublime mined by the likes of Rowan McCabe, Faithful Johannes and Your Aunt Fanny, multi-disciplinary artist and all-around unleasher of inner freaks Serena Ramsey has conjured an irreverent tale of abandonment, cults and mammy issues with Greggs at its dark heart.

A deeply Geordie one-person show anchored by a high-octane, physically dangerous performance from Ramsey, Waxa is ostensibly a tale about what becomes of someone whose mother abandons the family to join a cult. Yet, the core narrative is merely the inner sausage around which the surreal and often explosive pastry wraps. If Greggs isn’t sponsoring this thing, then the world’s greatest bakers have missed a trick – there are places here that famous blue logo was never intended to go.

Barrelling through set-pieces, monologues, dance routines, religious rituals and audience participation, Ramsay less tells a story than sells a mood, fronting the show with so much glorious physical comedy that it isn’t until the end we realise we’ve been sucker-punched and captivated by the confusion, heartbreak and even joy that washes over us when our world is rocked, and we have to rebuild all that we are.

A fearless talent, Ramsay is dead-set on a mission to challenge convention and explode conceptions of how theatre ‘should’ be done. Simultaneously grounded and transcendent, Waxa Belta Helta Skelta is an arresting, hysterical work from an authentically local artist that resonates long after the last flakes of pastry have fallen.

MXYM by Iam Burn

CLUB SIX TWENTY @ INDEPENDENT, SUNDERLAND (26.08.21)

Words: Laura Doyle

Clubbing sounds like a great idea – until you’re stumbling down the street at three in the morning after spending five humid hours listening to a hit-or-miss playlist. The Six Twenty have taken the basics of the phenomenon and revolutionised it. Gone are sour-faced bouncers, enter the everwelcoming Ravers flinging glow-sticks and balloon models at clubbers.

Club Six Twenty kicked off with aerial trio Uncaged, who instilled in their audience a deep feeling of awe and jealousy at their abilities to swing around hoops and cubes by their ankles. Interspersed amongst local drag legend Gladys Duffy’s cheeky DJ set was the epitome of goth glam extravagance MXYM. Skipping joyously from genre-bending originals to crowd-pleasing party anthems obviously requires no fewer than five costume changes. PICNIC followed a little while later, proving that everything is better with a sax – even energetic funk pop that could bring the roof down.

Where Club Six Twenty has a further edge, though, is in its less traditional approach to a night out. Slide to one side and enjoy a UV print-making workshop with Jo Howell, get your face rave-ready with Not Just A Pretty Facepaint, or take a trip upstairs for Ronan’s interactive monochromatic psychedelia that really helps the overexcited clubber chill out for a few minutes. Club Six Twenty was multi-sensory, at times overwhelming, and the shake-up to the clubbing genre that no one realised we so desperately needed.

THE MAGPIES @ GOSFORTH CIVIC THEATRE, NEWCASTLE (09.09.21)

Words: Luke Waller

As autumn begins to dawn upon us, a cosy evening in a setting such as the Gosforth Civic Theatre accompanied by a soothing selection of folk music seems most fitting.

Introduced by local accordion-and-fiddle duo Jim Boyle and David Gray were The Magpies, the transatlantic all-female trio who have been making their mark on the folk scene since 2018. On the ninth consecutive night of their September UK tour, they performed a wonderfully diverse set of a mix of traditional and more modern songs, reaching from the classic ballad The Two Magicians to a fantastic encore of Eurythmics’ Sweet Dreams. All of this was complemented by the outstanding musicianship of all three members, who together concoct an incredible blend of banjo, fiddle and acoustic guitar. Though Bella Gaffney, the principal guitarist and vocalist, was suffering from an illness there was no sign of this shown in the standard of their music; it did, however, leave her perching on a stool “like a member of Westlife” (in her own words!)

Any who have seen or heard The Magpies expect little less than perfection from them – yet even when set against the highest standards, The Magpies continue to outdo themselves.

SHINE @ LIVE THEATRE, NEWCASTLE (07.09.21)

Words: James Hattersley

Shine is ultimately a coming of age story told from the source himself, Kema Sikazwe, as he chronicles his journey from his childhood beginnings in Zambia to his arrival and subsequent settlement in Newcastle. While one would be forgiven for the assumption that this would be a simple fish out of water story, with cultural misunderstandings left right and centre – and in some parts it is, pockets of Kema’s upbringing are relentlessly funny; particularly his first exposure to the Geordie accent – it’d be ignorant to believe so.

What this story is deep down, is a tale of searching for belonging and navigating through the whiplash of life. Kema masterfully leads the audience on a rollercoaster of emotions; flipping from jovially jolly to hauntingly harrowing on a dime. Weaved throughout his story are various musical pieces, set to spectacular backlight, that are raw, powerful and perfectly frame each significant event of Kema’s life, giving each moment a further emotive insight. You never know when music is gonna hit but it never truly sneaks up on you. It’s like Kema’s mother always said, “the music is always present, you just have to hear it.”

Shine is a fantastically honest account of the human struggle for acceptance and self belief, which is something that everyone can relate to. Shine on.

Black Honey by Idene Roozbayani

BLACK HONEY, VENUS GRRRLS @ MIDDLESBROUGH EMPIRE (10.09.21)

Words: Idene Roozbayani

Venus Grrrls bring to mind an unexpected explosion of punk rock mayhem wrapped up in a 90’s alternative nation music video hosted by Toby Amies! Massive in sound and presence, they absolutely smash their first track and leave the audience absolutely buzzing. Their second track thunders through with a lush down beat and great control of dynamics from the musicians, engaging the audience before making a sharp detour into a gorgeous synth breakdown. The rest of their set was filled with further excellent moments and served to showcase a band on the precipice of something great.

Black Honey’s blues-inspired rock kicks all ass from the second they take to the stage. Their opening track I Like The Way You Die set the mood and tone for the evening, with Black Honey absolutely commanding their audience from the get-go. Their wall of sound approach to rock music is one of their unique selling points, for fans and newcomers alike; that dynamism is what brings everything together, in an overdriven, slightly gritty melting pot of excitement and fervour, anchored by a commanding performance from lead singer Izzy Baxter Phillips.

I SEE ISLANDS, STILTS FOSTER, PHILIP JONATHAN @ THE ENGINE ROOM, NORTH SHIELDS (12.09.21)

Words: Damian Robinson

Billed as a solo set, though perhaps really a duo, Philip Jonathan (with consistent backing vocal support from Elissa) opens tonight with an astonishingly high standard thanks to a blend of looped acoustic guitar, gentle violin and the loveliest of soulful folk melancholy you’re likely to hear this side of Ryan Adams’ Love Is Hell. Tracks Fire and stand-out Before The Dawn, set a really high standard for solo acoustic troubadour Stilts Foster to reach, whose opener This Bar Is Not Your Home and the more light-hearted I Don’t Like Being Right build on nicely from Jonathan’s work. Great crowd interaction and song curation sees Foster keep the evening’s momentum alive before handing over for tonight’s master architect.

I See Islands weaves lovely falsettos, looped synths and gentle arpeggio guitar into his comforting but heart-breaking songs. With more than a hint of Bon Iver and Spiritualized in new single Living A Lie and standout Education Separation, I See Islands’ set is filled with the type of songwriting which places addiction and heartbreak in the first person, but may also be well constructed storytelling sung from other people’s perspectives rather than his own. Bookended by two fantastic sets, and aided by the excellent venue that is The Engine Room, tonight was the perfect Sunday evening.

ISLE OF TYNE @ THE TYNE BAR, NEWCASTLE (29.08.21)

Words: Mark Corcoran-Lettice

The weather may not have kept up its end of the bargain, but Wandering Oak certainly succeeded in bringing a stellar line-up to The Tyne Bar’s outside stage to celebrate the bank holiday. Twist Helix start with a short but oh-so-sweet set of punchy, euphoric synth pop, with tracks from their latest album Machinery proving welcome additions to their live show. Crimewave meanwhile has decidedly tilted the balance in his shoegaze-with-beats productions towards the latter, and it’s no bad thing: the hazy sonics remain, but with a newfound bite.

A late replacement for Behold A Pale Horse, hotly tipped Leeds newcomers L’objectif offer plenty of Strokes worship, but when they up the tempo and ante for their closing number it’s not hard to understand why they’re already attracting considerable industry attention. Starting the party firmly however is Straight Girl, whose balance of absurdity and catharsis, matched with some laser-precise sonics, makes them a remarkably compelling and visceral performer. Rave-ready break-up anthems, pounding instrumentals, Tron-ready stage gear and even a conga line – this is a set with everything you could ask for.

Closing out the night, the multi-headed beast of Ponyland include members of plenty of local favourites (including Archipelago and Yes Grasshopper), but their heavy double-drummer groove stands proudly on its own. Their blend of psych and Afrobeat-informed jazz proves a hit with the dancing crowd, and a cover of M.I.A.’s Born Free feels suitably celebratory and necessary.

John Grant by Carl Chambers

JOHN GRANT, TEDDY THOMPSON @ SAGE GATESHEAD (10.09.21)

Words: Lee Hammond

Tonight sees the return to full capacity live shows at Sage Gateshead and they couldn’t have chosen anyone better, as the inimitable John Grant returns with his excellent new album Boy From Michigan. Opening the show is someone arguably at the opposite end of the musical spectrum, Teddy Thompson. His delicate folk-tinged Americana eases us gently into the evening’s proceedings.

The subdued atmosphere quickly changes with the arrival of John Grant, who receives an immediate standing ovation before he’s even played a note. It sets the tone for an enthralling set as Grant tears through a multitude of tracks from Boy From Michigan, with Mike And Julie and Rhetorical Figure being the undoubted highlights, shining against the plethora of older tracks. Glacier, Marz, GMF, Queen of Denmark, Gerry Tickles and Black Pressure are all exquisite tonight, the fervour of the songs reciprocated by the hyperactive crowd, with Grant feeding off their excitement to the point he looks almost overwhelmed. It’s a show which transcends the music at times. Feeding off the buoyant enthusiasm of this packed crowd, these songs feel elevated with power and passion. The evening ends with GMF and multiple standing ovations, capping off an incredible evening by one of the finest performers around.

JARPSY, DON COYOTE, VICE KILLER @ THE CLUNY 2, NEWCASTLE

Words: Damian Robinson

The amount of sweat dripping off the audience at the end of Vice Killer’s set might be all that’s needed to show just how much effort both the artists and the audience put into this show’s post-punk/indie opening act. Full of bouncy guitar pop, they start the evening with a strong impetus before a quick breath, and a quicker turn around, sets up three piece pop power trio Don Coyote who add further propulsion. Driven by a killer funky guitar and a bouncing rhythm section, Don Coyote shine brightly, with new song Look After Yourself and post-punk art funkster Don Quixote stealing a show full of the type of poppy funky guitar moments that nudge in the direction of the Style Council.

Sunderland’s Jarpsy finish the night off with moments of loud alternative rock and a crowd full of energetic fans. Whilst the pounding riffs and Kinks style delivery of Eleanor stands out in amongst eight new songs, For The Record steals the show with its heavy pop and moments of guitar wizardry; with Chris Macknight stealing the full evening with his constant smile, interesting guitar licks and obvious genuine happiness to be playing.

SEA POWER @ THE GEORGIAN THEATRE, STOCKTON (11.09.21)

Words: Steve Spithray

Newly shorn of the British prefix to their name, while the onstage topiary remains, a more mature bent hangs over seminal indie rockers Sea Power (all that is missing is violist Abi who was unable to find a carer for her disabled sheep), but this new iteration of the band is no less inspiring. Never has a band so thoroughly epitomised its own ethos.

With a new album in the bag, Sea Power still treated Stockton’s sold-out Georgian Theatre to a greatest hits set from their not insubstantial catalogue, leading out with a surprisingly heavy (and sweary) Who’s In Control closely followed by It Ended On An Oily Stage and fan favourites Oh Larsen B and Doppelganger, all embellished with occasional keys and flugelhorn. A duo of newies, Green Goddess and Two Fingers, already fit snugly into the set while a lone roadie is kept on his toes with a flurry of instrument and mic swaps in the second half of the show as the five-piece show why they are still a force on the live circuit.

No Lucifer and Carrion really ramp things up before a closing All In It saw singer Yan carried way out into the audience. It was hard to imagine how an encore could justify the hype but a rousing Waving Flags and the always soaring instrumental The Great Skua wrapped things up before a surprising amount of greenery started making its way to the exit.